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A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek. 

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. 

A superb cast of singers is let down by Christoph Marthaler's cold, stilted staging as Reimann's Lear returns to its birthplace.  

An Elektra conducted like Mendelssohnian fairy music, sung not shouted, just as Strauss required.

The Staatsoper revives a confused production by Hans Neuenfels, under the baton of Thomas Guggeis.

Although Bard's production is only intermittently successful, the chance to hear this Korngold rarity live should be savored.

Carè, Stundytė and Pursio all shine as singers and actors in an intense, exciting production at the Finnish National Opera.

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.

With a stunningly inventive and modern-sounding score, strong acting performances and a staging full of theatrical illusion and coherent in spite of general weirdness, Aix's Fiery Angel impresses.

Hans Neuenfels new Salome proves a strangely non-committal affair at the Staatsoper, but Thomas Guggeis conducts impressively.

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.

An unlikely coupling of one-act operas by Zemlinsky and Puccini bears fruit in a staging that reveals their thematic parallels while leaving their obvious differences on show.

At its local Antwerp première, David Bösch’s new production of Erich Wolfgang Korngold’s Das Wunder der Heliane makes it the only house ever to have mounted twice.

A powerful and emotional staging by Bieito with five-star performances from both leads.  

The lack of shock value in Calixto Bieito’s interpretation of Wagner's Tannhäuser premiering at the Vlaamse Opera in Ghent could almost be seen as a disappointment. All the more surprising then was the romantic intimacy created in this superlatively sung production.