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Claus Guth's new production at the Metropolitan Opera, originally seen at the Bolshoi in 2021, moves the action from biblical Judea to the era of the opera's composition. 

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

With Claus Guth directing and Simone Young on the podium, the Staatsoper Unter den Linden's new production of Mussorgsky's Khovanshchina proves that the past isn't really past. 

Claus Guth's production foregrounds the regimented, repressive world that drives the plot of Janáček’s tragic masterpiece.

Claus Guth's staging walks a line between atmosphere and audacity, in a powerful company achievement from Latvian National Opera.

In New York's Park Avenue Armory, Claus Guth imagines Schubert's final song collection set in a military hospital, Jonas Kaufmann as one of its soldiers with a story to tell. 

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.

A delayed season opening at the Teatro di San Carlo, but a night of epic grand opera as Claus Guth and Juraj Valčuha deliver a weighty Don Carlo.

Director Claus Guth's new production for the Staatsoper Berlin is a bit of a mixed bag but the evening succeeds more on its musical merits, with a splendid ensemble of singers and orchestra conducted by Sir Simon Rattle.

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

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

“How Excellent.”  The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

A veritable Baroque bonanza featuring a top-tier cast and orchestra in an emotionally incisive and handsomely crafted production.

Heart Chamber explores how small outer events often correspond to tectonic inner changes.

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

Claus Guth’s grandiose production of Parsifal made major headlines in Zurich in 2011. With its new cast of principals, this revival is no less a sensation.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Claus Guth's production of Handel's last oratorio lands in Paris, where William Christie leads Les Arts Florissants and a stellar cast. 

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

The Teatro Real opened its 200th anniversary season with a revival of Claus Guth's brilliant production and a great cast, led by Kurt Streit and Silvia Tro Santafé.

A grimly dark setting for Mozart's final opera, Sesto and Tito haunted by childhood memories. 

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

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.

Concerto Köln, honed to perfection, and an accomplished cast star in Claus Guth's tense, dark staging of Handel's Jephtha. 

An outstanding premiere of Bohuslav Martinů's Juliette at the Schiller Theater in Berlin has a delighted public jumping to their feet with applause.

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.

Nina Stemme's domination of the heaviest dramatic soprano repertoire continues with an outstanding Isolde at the Zurich Opera House, ably assisted by Stephen Gould, Matti Salminen, and other notable performers under John Fiore.

Claus Guth gives the Staatsoper Berlin a Turn of the Screw unlike any other.

Guth's production is beautiful to look at, but fails to bring out the best in Mozart's drama.

The Stepford wife, the doubting priest, the guilt-ridden adulteress, the family black sheep and the outsted, suicidal CEO:  staples in television dramas but surprising finds in Handel oratorio.

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.

Schubert's unfinished oratorio Lazarus joined with other interesting works by both Schubert and Charles Ives in a staged performance at the Theater an der Wien, directed by Claus Guth. Strongly cast, the musical juxtaposition works better than the oratorio itself, and the rather cold dramaturgy.

The first opera of the season at La Scala is an event of huge cultural significance in Italy, so it raised some hackles when, for Giuseppe Verdi’s centenary year, the management passed over Verdi in favour of Wagner’s Lohengrin. But even Italians disappointed by the insult to their culture found it impossible to quarrel with the quality of the singing talent on show.

Productions of Monteverdi’s Il ritorno d’Ulisse in patria which make the title character a returning war veteran, preferably one returning from a juicy topical war, are nothing new, and director Claus Guth doesn’t stretch the well-worn conceit much further in this listlessly vague staging for the Theater an der Wien.

Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts.

The last production I saw of L’Orfeo explored the idea of music as a manipulative force, suggesting disturbing consequences to the docility it can engender. Director Claus Guth is less concerned with Orfeo the musician, and makes minimal acknowledgement of the work’s pastoral and mythic elements.