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Aribert Reimann's Lear takes no prisoners in a disturbing portrayal of a world gone awry, but Barbora Horáková's scattergun direction adds to the confusion. 

Puccini's classic takes on a harsh contemporary edge in a dark treatment by director Sláva Daubnerová at Prague's National Theatre. 

SKUTR's daring direction and Václav Luks's early music expertise combine to bring new vitality to a Baroque classic. 

Nigel Lowery’s new production at Prague State Opera is a gusher of ideas, starting as slapstick but profoundly moving by the end.

Andriy Yurkevych leads a rousing musical performance, but this visually impressive Nabucco tries to hard to be relevant and misses the mark.

Shostakovich's murderess comes to terrifying life in Martin Čičvák's smart, sensational production for the Prague State Opera. 

Donizetti's frothy romantic comedy takes on fresh appeal in this faithful rendering at the State Opera.

Barbora Horáková's imaginative updating of The Marriage of Figaro sags under its own weight at the Estates Theatre, Prague.

Armida offers a compelling story, resonant issues and the spectacle of dueling wizards – but unfortunately, not in this production.

Choreography isn't the only thing lacking in Alexander Zemlinsky's comic gem Kleider machen Leute.

A strong international cast and fine musicianship from the orchestra carries on Strauss's legacy with a smart, antic romp.

The Spanish director's emotionally-sapped staging for the Prague National Theatre travels to Brno for the Janáček Festival.

Jiři Herman’s staging is authentically Japanese and focuses on the deliberate injustice of Butterfly's treatment, with strong performances in the lead roles.

The National Theater opens the season with Rodion Shchedrin's searing version of Lolita, with spectacularly disturbing results.

Prague's National Theater wraps its season with a wickedly funny revival of Offenbach's audacious operetta.

The main problem with Keith Warner's staging is that the director’s dominating focus is on the Jungian ‘Elektra complex’ rather than Elektra the opera.

With a Slovak team at the helm, the National Theater offers a smart, fresh take on a familiar story.

The National Theater opens the new opera season with a gripping, thought-provoking production of Bellini's romantic tragedy.

Clumsy staging undercuts a fine musical performance at the National Theater's season finale.

The fantasy characters prove to be more interesting than the real ones in a Czech treatment of Engelbert Humperdinck's fairy-tale classic.

Despite some outstanding choral work, the State Opera's new production of Boito's popular take on the Faust legend falls short of its heavenly aspirations.

Polish director Mariusz Treliński puts a contemporary spin on Salome by retelling the story from a victim's point of view. 

Despite some staging problems, a Czech rarity gives the National Theater's new opera season a rousing start, with a vibrant score beautifully realized by conductor John Fiore.

The tradition of Grand Opera is well and alive. The genius of Saint-Saëns shone marvellously through this brilliant interpretation, which essentially did justice to the heart of Opera, a dash of madness mixed with high theatricality.