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Strong performances from Elīna Garanča, Barbara Hannigan and John Relyea plus innovative stage direction make for a standout production.

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

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

Bayrischer Staatsoper’s revival of Warlikowski’s static production of Tristan und Isolde featured a sensational role debut of Elena Pankratova as Isolde.

In the expert hands of both director Warlikowski and conductor Kent Nagano, the sequel to Bernstein's Trouble in Tahiti proves to be even darker and more dramatic.

Barbara Hannigan is better than ever in Krzysztof Warlikowski's iconic Lulu at La Monnaie – an historic event.

The Bayerische Staatsoper's new Tristan und Isolde, featuring two stellar role debuts, is scenically disappointing but musically superb. 

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

Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.

Krzysztof Warlikowski’s new Paris staging of Verdi's epic Don Carlos is cold and glassy, but the vocal performances at the Bastille more than compensate.

The musical glories of Schreker’s glistening, late-Romantic score are laid bare in the Bavarian State Opera’s first production of Die Gezeichneten since 1919.

A musical performance of stunning quality underpins this revival of Krzysztof Warlikowski's lavish, ambiguous Strauss staging.

Clarity and mounting horror in the orchestra pit, the full truth and ugliness of the human condition onstage. Dutch National Opera’s new production of Wozzeck is stomach-churning for all the right reasons.

A compelling staging of Gluck's 1779 opera in Paris. 

A daring, fascinating pairing of two modern operas by Krzysztof Warlikowski in Paris. 

Warlokowski's staging of Eugene Onegin for the Bayerische Staatsoper works from a bold premise: Onegin is gay. Strong musical and dramatic performances keep the concept coherent and interesting, but it ultimately doesn't convince.

The music makes this an enchanting Die Frau ohne Schatten, even if Warlikowski’s fantastical production remains an unsolved puzzle.

A revival of the new production of Die Frau ohne Schatten at the Munich Opera Festival brings back four of the principals in a brilliantly sung performance of Richard Strauss' masterpiece.

With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.

“If it ain’t broke, don’t fix it.” These wise words have fortunately not fallen on deaf ears at the Opéra de Paris, who have brought back their production of Leoš Janáček’s The Makropulos Affair, directed by Krzysztof Warlikowski and designed by Małgorzata Szczęśniak, first presented in Paris back in 2007.

It’s not often that operas in English get performed in Germany, and so I was somewhat surprised to see such a large and important company as the Berliner Staatsoper taking on Stravinsky’s The Rake’s Progress.

Hell hath no fury like a woman scorned. Scorned womanhood has no better archetype than Euripides's Medea. And you're unlikely to see a more powerful or affecting Medea than Nadja Michael's performance in Cherubini's opera Médée, in the first production of the new season at La Monnaie in Brussels (De Munt, if you're a Flemish speaker.)Like all good Greek tragedy, we all know the story.