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Lotte de Beer’s new retelling at the Volksoper reintroduces the element of shock into Bizet's popular opera. 

“Jealous lover kills local slut” might be the tabloid headline, but Bizet's Carmen is much more than that, especially in this visually stunning new production in Hamburg, directed by Herbert Fritsch.

Octogenarian maestro Elio Boncompagni has dug deep into the plethora of Don Carlos partiture and come up with a precious musical treasure. Derek Gimpel's direction disappoints.

An updated but otherwise traditional Flying Dutchman directed by Jan Philipp Gloger offers plenty of enjoyment at Bayreuth, although it might not linger in the memory as long as the more controversial fare at the Festival

Christian Thielemann and his orchestra were the stars of an excellent performance of Wagner's Der fliegende Holländer. 

Wagner’s The Flying Dutchman is a tale not only about redemption through love, but also about the helpless plight of human beings in the face of wilful and vindictive supernatural forces. In the hands of Wagner, the mythical Dutchman, instead of being a collector of itinerant souls at sea, has become an intrepid adventurer condemned to eternal maritime wandering.