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Barrie Kosky's new production of Philip Glass' Akhnaten for Komische Oper at the Schillertheater removes any egyptological references. 

The last of Jacques Offenbach's great buffo operettas provides an opportunity for topical satire but Max Hopp’s attempts at updating it fall short of the mark.

Sailor suits and powder-puff bows as Herbert Fritsch directs a colourful new production in Berlin. 

Jurowski and the Berlin Radio Symphony Orchestra give the Konzerthaus a night to remember with pungent renditions of Goldmann, Weill and Stravinsky's Jeu de cartes.

Marking the beginning of a new artistic direction, the Komische Oper's new production of Nono's Intolleranza 1960 proves a success, with director Marco Štorman's deep rethinking of the theatre stage.

Leigh Melrose appears in a strong new Œdipe directed by Evgeny Titov to open the 2021-22 season at the Komische Oper. 

The Salzburg Festival's production of Offenbach's Orpheus in the Underworld is another classic in the making from Barrie Kosky.

Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.

The Spanish director offers a controversial angle but tones it down to focus on dark psychology rather than spectacle in his staging of Schrecker's hothouse opera.

Rattle conducts Janáček's glorious score with unerring skill and barely concealed adoration, but is let down by his regular collaborator's muddy vision. 

Barrie Kosky's production of Schoenberg's unfinished masterpiece is brought to musical life by Vladimir Jurowski's intense and compelling interpretation.

Sasha Waltz's choreography-heavy production of Purcell's Dido and Aeneas at the Sydney Festival is both intruiging and distracting, giving the singers little chance to shine.