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Marlene Monteiro Freitas directs her first opera, in which Lulu, if not buried alive, is certainly left completely unrecognizable. 

Romeo Castellucci's new production of Daphne for the Staatsoper reflects on our relationship with nature, subverting the perspective of Richard Strauss' opera.

Stoyanova’s extraordinary performance as the Feldmarschallin made 394th revival of Otto Schenk’s 1968 production of Der Rosenkavalier an occasion to savor.

Kate Lindsey’s voice is luminous, effortlessly regulated in every register, and intertwined magically with the gleaming soprano of Slávka Zámečníková, a very special new jewel in the Staatsoper ensemble who is every inch a star.

Nicola Raab's production doesn't quite provide the bold rethinking it promises, but stylish execution and a fine cast make for an effective modern Traviata. 

Sophisticated interpretation of The Bassarids by Hans Werner Henze at the Komische Oper Berlin

The new version of La bohème at the Komische Oper Berlin follows a hard Verismo-beat.

Stefan Herheim packs puns and gags into a three-hour long show, but less could have been more. 

Nationaltheater Mannheim's new production of Brecht and Weill's collaboration is a true company achievement and a thrilling evening of music and theatre.