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Romeo Castellucci's intense production of Bartók's opera reaps its rewards in the performance under Teodor Currentzis, but Carl Orff's opera-oratorio De temporum fine comoedia feels little more than a drab filler. 

The pairing of controversial director and bad-boy conductor brings some thrills but the Salzburg Festival's new Don Giovanni proves disappointingly uninvolving. 

In Currentzis' vision, Verdi's Requiem was both a spectacle and a soul-searching exercise for the musicians, as well as for the listeners.

The musicians of MusicAeterna were impassioned, engaged and energised into a single force in this performance of Verdi's Requiem at the Aix Easter Festival.

A successful musical production of Lully’s masterpiece with Perm Opera’s MusicAeterna chorus and orchestra, Le Poème Harmonique, and a tremendous French-Russian cast.

The transfer of last year's Clemenza di Tito from Salzburg delights and irritates in equal measure.

Mozart was supposed to be the composer of La clemenza di Tito but it was really a critical edition of Metastasio’s opus by Teodor Currentzis.