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The Magic Flute's roots in popular theatre come through most strongly throughout Vick's production, which sparkles with a wealth of witty detail. But treatment of the work's socio-political undercurrents doesn't work nearly as well.

The inventiveness of Ruth Berghaus' classic staging is a clear as ever, even if this revival occasionally loses focus.

Deutsche Oper Berlin’s 1980 production of Donizetti’s romantic tragedy gets a new life with a pair of young singers who valiantly and elegantly sang the doomed lovers.

It seems unfair to label a young conductor a 'discovery', especially since most young conductors labour tirelessly for many years prior to achieving wider recognition. But that's what Daniel Cohen was for me: a discovery, and a very pleasing one at that.