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Andrea Brassói-Jőrös shines in the title role of János Szikora's new staging of Dvořák's fairy tale opera. 

With Iréne Theorin's Brünnhilde rejuvenated, the Ring receives a worthy finale at the Budapest Wagner Days.

Cast and orchestra excel in a sensitive linking of Gluck’s music and drama in Róbert Alföldi's simple, direct production at the Hungarian State Opera.

In András Almási-Toth's engaging new production, magnificent orchestral and choral performances let Wagner's music do the talking.

The RLPO impresses in a sensitive concert staging of Bartók's operatic masterpiece, with intense singing from Károly Szemerédy and Adrienn Miksch.

More of a distraction than an enhancement, Ulrich Rasche’s giant steel machine grinds down the performers of this dark Elektra, which ultimately stumbles over its own feet.

A controversial new production of Bluebeard's Castle by Andriy Zholdak in which Bartók's opera is played out twice... 

Keith Warner directs a new opera which packs in betrayal, murder, oppression, freedom, love and the Spanish Inquisition into a mere 90 minutes.

This double cast, nine-day revival of Vadim Milkov's staging of Pique Dame offers a relatively straight reading of Tchaikovsky's opera about the obsessive Pushkin-based character Herman. Embracing the opera's choral and dance passages, spectacle and pageantry are paramount; the drama's surreal and more nuanced dimensions could have been better profiled.

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.