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Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.

Christof Loy's 2019 production proves even more compelling second time round, with excellent acting and a properly heroic tenor performance from Brian Jagde.

Gianluca Capuano and Les Musiciens du Prince open the Pfingstfestspiele with a bang in a profound interpretation of Gluck’s masterpiece, where Cecilia Bartoli shines in her debut as Orfeo.

The COC revival of its 2016 production of Le nozze di Figaro is still rooted in Claus Guth’s gloomy Scandinavia but it’s lightened up to become much sexier and funnier.

Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum. 

Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

Claus Guth’s Don Giovanni returns to Amsterdam with an almost entirely new cast with strong leads by Seth Carico and Adrian Sâmpetrean. 

Christof Loy would seem to be the perfect director for Covid-era opera, his stripped back production of Verdi's rare middle period opera directed remotely from Austria.

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.

If you have dismissed this opera as overstuffed kitsch in the past, you might want to take a look at this production. It could well change your mind.

Shortened and simplified to adapt to restrictions, David Bösch's 2016 production succeeds in bringing Mozart's brilliant opera to a modern setting with a splendid cast of singers.

It's difficult to believe Salzburg could have cast a finer Così in Loy's Covid-reduced production in the Großes Festspielhaus.

Orchestra and chorus reach great Wagnerian heights in this new production by Christof Loy, a study of an artist in revolt against hypocritical sexual mores.

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

Yoncheva passed the test in style, providing a scintillating delivery that drew feverish approval from the public.

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. 

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.

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.

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.