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When a voice as potent as Christine Goerke’s has to push to be heard, you know there’s a problem.

Despite theatrical drawbacks, this Wozzeck is heartily recommended due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

The backstory doesn’t bode well: three fugitive criminals decide to found a city that will pander to society’s most vital needs: food, sex, warfare, and alcohol.

Semyon Bychkov turned in a magisterial account of Mussorgsky's rugged score, aided and abetted by some strong vocal performances.

With its monumental sets designed by Anish Kapoor, Pierre Audi’s abstract Parsifal at Dutch National Opera is spectacular, led by the excellent Christopher Ventris, with Günther Groissböck shining in his role debut as Gurnemanz. 

A feast for the eyes in Zurich, but is the visual stimulation in Herbert Fritsch's production of Der Freischütz just too much?

Singing, orchestral playing and scenic portrayal all combine to make a highly memorable second instalment of Wagner's Ring.

Weaknesses in the staging did little to dim the musical pleasure of hearing Sir Mark Elder conduct Weber's masterpiece with OAE forces and an impressvee cast

Zambello's Die Walküre engages and excites in this promising Ring cycle. 

The second opera of the Ring Cycle in Vienna brought the best out of the orchestra and singers with a sweeping and breath taking reading of the score by Sir Simon Rattle.

Khovanshchina offers ample opportunity for massive, haunting and grandiose vocal display,  beautifully realized by a remarkable cast led by Ain Anger, Elena Maximova and Ferruccio Furlanetto.