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Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

A long stellar night of supremely assured singing and playing in Wagner's Siegfried, with the Bavarian Radio Symphony Orchestra and Sir Simon Rattle on top form.

François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.

Andris Nelsons finishes his 2019 Tanglewood residency on a high note.

In a fin de siècle programme, Salonen and the Philharmonia demonstrated visceral excitement, and found ways to reinvent. 

Donald Runnicles conducts the World Orchestra for Peace and BBC Proms Youth Choir at The Proms

After staged performances in Baden Baden, the Berlin Phil's Parsifal is presented in concert at the Philharmonie, with a couple of key cast changes. 

Dieter Dorn’s staging robbed Wagner’s final masterwork of magic and mystery while Simon Rattle set new speed records.

The Staatsoper's new L'incoronazione di Poppea is serious, intelligent but short on fire.

Yannick Nézet-Séguin led an intriguing performance of Wagner's Flying Dutchman at the Met with a superb orchestra and an excellent ensemble of singers. 

Gidon Kremer, long-time champion of Sofia Gubaidulina, joined the Berliner Philharmoniker and Christian Thielemann for a performance of In tempus praesens.

Vienna Philharmonic takes the audience back in time to Mozart's era and to the orchestra's homeland.

A roster of star performers and a sprinkling of maestro magic turn this semi-staged concert into a memorable event. Shame about the big ideas.

An updating of Mozart's Die Entführung aus dem Serail to the post-World War One era in a desert fails to inspire in Aix. 

Adrianne Pieczonka and Anett Fritsch shone in an otherwise disappointing opening night, impaired by poor conducting and unimpressive staging.

Video artist Bill Viola fills Tristan und Isolde with mesmerising images. Peter Sellars stages and Marc Piollet conducts a cast where King Marke reigns, at the Teatro Real in Madrid.

The opening concert of the Wiener Konzerthaus in 1913 featured a performance of Beethoven’s Ninth Symphony with a celebratory prelude written by Richard Strauss. To mark its 100 year birthday, this Sunday morning the Vienna Philharmonic, led by the eminently engaging Gustavo Dudamel, performed Beethoven’s Ninth as well, but this time with a “Prolog” written by living composer Aribert Reimann.

Quite simply, it’s the largest scale event in all of opera. With 18 hours of music in a 3,800 seat house, Wagner’s Ring Cycle at the Met is a giant, lavish undertaking – all starting with that famous E flat chord: starting from the quietest of pianissimo double bass notes and building for nearly four minutes before it explodes into the melody of the Rhinemaidens.

Peter Sellars successfully updated the ancient magic in Wagner’s opera Tristan und Isolde. Wagner had already modernised the medieval tale by focusing on the middle of the story, where the passion of the doomed lovers catches fire. Wagner treats the mythic origins of the romance as back-story recollected while passions are flaring.

For any opera lover, a first visit to Bayreuth is something of a pilgrimage to the holy land. Musically, I wasn’t disappointed, as the Dutchman’s leitmotif rose softly from the invisible orchestra, soon to be enveloped by the swirling storm brewed up by Wagner and conductor Christian Thielemann.

Before the concert began, Yannick Nézet-Séguin gave a short introductory speech that, in effect, would have the Royal Festival Hall consecrated for the evening as a place of worship.

I've commented before about Die Zauberflöte that if you get the music right, the rest will follow. In the first night of the Royal Opera's latest revival of David MacVicar's 2003 production, Sir Colin Davis definitely got the music right.

Read our review of Robert Lepage's production of Das Rheingold by Wagner, in its 2010 broadcast from the Met Opera in New York.