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The Ukrainian conductor heads an impressively cast revival of Franco Zeffirelli's gaudy Turandot. 

Vincent Huguet's 2019 production of Richard Strauss‘ masterpiece is given a stupendous revival at the Wiener Staatsoper with an excellent ensemble of soloists.

Bayrischer Staatsoper’s revival of Warlikowski’s static production of Tristan und Isolde featured a sensational role debut of Elena Pankratova as Isolde.

Ulf Schirmer bows out as General Music Director as the last of Wagner's 13 operas completes a successful Festival Wagner 22 in Leipzig.

Philipp Stölzl depicts Turandot as a tragedy of a lonely princess who pays dearly for her cruelty in his fascinating new production at the Staatsoper Berlin.

A pleasurable evening of surprises in Marco Arturo Marelli’s Turandot.

Despite its enigmatic details, Bayreuth's Parsifal reaches a cathartic climax. 

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of  Die Walküre. 

German theatre director Uwe Eric Laufenberg freely incorporates some of Stanley Kubrik’s horror story concepts into his Elektra, but in ignoring both Sophocles and Strauss, is a long way from shining.  

A musical performance of stunning quality underpins this revival of Krzysztof Warlikowski's lavish, ambiguous Strauss staging.

A reading full of emotion from conductor Juraj Valčuha sets up one of the best San Carlo Orchestra’s performances of this season.

Uwe Eric Laufenberg sets his new staging of Wagner's final opera among the persecuted Christians of the contemporary Middle East – but avoids preaching.

A fairly conventional version of Beethoven's Fidelio at the Grand Théâtre in Geneva plays it safe and ultimately succeeds. 

Roberto De Simone's staging evokes a fabulous out-of-time China, and perfectly accompanies the majesty of Puccini’s last and unfinished opera. De Simone chooses to stop the opera at the point of Puccini's death, without Franco Alfano's finale.

The music makes this an enchanting Die Frau ohne Schatten, even if Warlikowski’s fantastical production remains an unsolved puzzle.

A revival of the new production of Die Frau ohne Schatten at the Munich Opera Festival brings back four of the principals in a brilliantly sung performance of Richard Strauss' masterpiece.

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.