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Soloists Klaus Florian Vogt, Christian Gerhaher, Amber Wagner and Marina Prudenskaya star in Act 3 of Tannhäuser.

The EIF’s cycle comes to a fabulous end with RSNO and Andrew Davis leading a luxury cast, Christine Goerke’s emotionally powerful Brünnhilde a highlight. 

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

Amber Wagner delivers a thrilling performance in Opera Australia's revival of Graeme Murphy's Turandot – a spectacular feast for both the ears and eyes.

All three operas in Puccini's triptych are strongly cast in this revival. 

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

A sensational Die Walküre from Sir Andrew Davis and the RSNO at the Edinburgh Festival that will be talked about for years.

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. 

On a night of technical delays and extraordinary singing, Opera Australia's revival of Die Walküre is particularly memorable for Amber Wagner's Sieglinde and Lise Lindstrom's Brünnhilde.

Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.

In James Conlon's final performance as music director of Ravinia, he presented a magnificent Flying Dutchman with a stellar cast.

Soprano Amber Wagner debuts with a flair that reminds us that Verdi's Requiem has dramatic roots.

Amber Wagner sings Elisabeth with a deepened command and an access to a horizon of sound that make it seem as though her throat had found six more inches of release. It’s a phenomenal performance.

The Il trovatore on offer at the Lyric this month would make a fine CD, its vocal strengths to be found equally among the leading foursome, but its weaknesses are visual and dramaturgical, and these are plenty too.

The gist of Ariadne auf Naxos, Richard Strauss’ opera-within-an-opera, is this: a demanding patron insists on having his entertainment for a given evening – a burlesque act and an opera – combined into one work, greatly upsetting the archetypal “serious artist” composer of the opera.