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Carl Nielsen's Maskarade makes a welcome rare appearance, with a great time had by everyone onstage and off.

This is no Liederabend with singers taking their turn to file up to the piano. It’s a fully staged drama in which baritone Vladislav Sulimsky’s character reflects on his past loves and losses.

Oper Frankfurt's revival of Richard Jones's production of Billy Budd with a homegrown cast is a devastating combination of powerful music and searing drama.

Camilla Nylund’s rich, ample voice bloomed in the glorious setting of the sonnet, cosseted by burnished horn playing, in Strauss' unsurpassed operatic farewell to the soprano voice.

Iain Paterson's house debut as the Holländer was sufficient reason to drop anchor in the Main for this revival of David Bösch's 2015 production. 

Oper Frankfurt's new production of Rigoletto focuses on the dark side of the tragedy with excellent singing from the two principals.

Debussy's Pelléas et Mélisande is beautifully realised in Claus Guth's now classic production, revived with a new cast of principals at Oper Frankfurt.

A largely newly cast revival of The Rake's Progress takes a while to catch fire, but when it does the results are devilishly good.

Frankfurt Opera's 2012 production of Götterdämmerung with its emphasis on the contemporary human issues was a successful conclusion of the revived Ring.

The third installament of the Ring in Frankfurt took full advantage of the architecturally ingenius set to complement great music making by the orchestra and singers.

Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.

Sebastian Weigle leads a somewhat light-footed but satisfying account with a fine orchestra and good ensemble of singers in an architecturally stunning production.

Die tote Stadt’s bid for the mainstream proceeds with a musically strong revival of a perceptive if flawed staging at Oper Frankfurt

Twenty-eight immobile cast members faced the audience from the long white bench which comprised the totality of Katrin Lea Tag’s bare set. Meanwhile, a floor-level, period instrument orchestra delivered the attention-grabbing, minor key Overture to Purcell's 1688 Dido and Aeneas.