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The pure magic of Ádám Fischer and the Hungarian Radio Symphony Orchestra delights with two brilliant leads, but others disappoint on the second day of Müpa's Ring.

More relevant than ever, the patriarchal nightmare of Verdi's Rigoletto is dark and unflinching in Scottish Opera's revival of their 2011 production, with some striking scenes and fine singing.

Hagen, the first chapter in the Theater an der Wien's reimagining of The Ring, features music from Das Rhinegold and Götterdämmerung woven seamlessly together, telling the story from the perspective of Hagen, son of Nibelung dwarf, Alberich.

Tatjana Gürbaca’s whole scale tampering with Wagner’s Siegfried had so many flashbacks and flashforwards there should have been a warning for photosensitive members of the audience.  

An impressive trio of international singers carry Opéra de Montréal's traditional new production of this Verdi tragedy.

The story still remained moving and the performance was musically pleasant, but the staging did not convince overall

I have no objection per se with naked women bathing in blood, masturbating to crucifixes or being flagellated by priests in confessional booths, but only if it somehow aids understanding of the story

Love and death, jealousy and revenge, assassination and intrigue, culminating in a dazzle of song, dance, and a shower of sparkling gold: San Diego's A Masked Ball has it all.

Director William Friedkin doesn’t put a dramaturgical foot wrong in his Theater an der Wien production of The Tales of Hoffmann and yet doesn’t challenge, or even engage with, any of the opera’s Romantic positions.