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Asmik Grigorian leads a searing performance in Martin Kušej’s 15-year-old, yet ever-fresh, outstanding production of Dvořák's opera.

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

In a week where Vienna welcomes two new productions of Bellini's Norma, MusikTheater an der Wien sets a high bar with Vasily Barkhatov's staging. 

Dmitri Tcherniakov’s staging of Rusalka in Naples has a starkly modern visual style which occasionally dilutes the story’s emotional impact.

Asmik Grigorian's astonishing acting and subtle vocalism make for a promising Met debut in this revival of Anthony Minghella's lacquered staging. 

With the help of excellent singing and acting performances from a cast led by Asmik Grigorian and Joshua Guerrero, Puccini’s tale of abandonment hits home.

Never mind the piano concerto marathons, 2023 will not see a finer anniversary tribute to Rachmaninov than this song recital.

Krzysztof Warlikowski’s ghoulish production has the Macbeths’ killing spree spring from their infertility.

Ann Yee and Natalie Abrahami give Rusalka an ecological reading, but it's the musical side of things that really takes flight in The Royal Opera's new production.

Valery Gergiev finally turns up to conduct an electrifying evening, crowned by Asmik Grigorian's full throttle performance as Liza. 

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

“Go big or go home” could easily have been the motto of this summer’s festival. Muti didn’t just go big. He went huge. 

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

Canellakis is an elegant conductor who invests so much in the music and inhabits its lilts and thrills with her whole demeanour.

The wealth of visual images displayed by director Graham Vick goes with the extraordinary richness of Korngold's music.

Grigorian returns to Stockholm in a wonderful performance of Madama Butterfly, with young, upcoming tenor Migran Agadzhanyan as Pinkerton in a 2014 production by Kirsten Harms.

An astonishing performance by Asmik Grigorian is central to the Italian director's disturbing reading of a disturbing opera. 

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

The Lithuanian soprano makes a most welcome return to the Kungliga Operan as one of the most tragic and beloved of Puccini's heroines. 

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

Director Vasily Barkhatov’s production of Eugene Onegin travels to Darmstadt. 

Beautiful singing at the Royal Opera House in Stockholm for the Scandinavian première of Giordano's Fedora.

A mesmerising Wozzeck, thanks to the trampled dignity of Florian Boesch’s antihero, Asmik Grigorian’s gloriously sung Marie, and a thrillingly savage Netherlands Radio Philharmonic.

Barrie Kosky's new production of Eugene Onegin at the Komische Oper Berlin is delicious for the eyes, ears and emotions. 

At the end of the season, and before closing for the summer break, the Komische Oper Berlin reprise some of their most successful recent productions for one night only in the Komische Oper Festival, including the popular “cartoon” Magic Flute. Included in this busy week was a performance of Tchaikovsky’s Mazeppa, a rarely performed epic opera of battle-torn love and murder.