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A haunting, musically compelling impression of a woman whose life was shaped by creation, loss, and unfulfilled thirst for personal expression.

The magic in Philipp Stölzl and Philipp Krenn's new production comes from the pit, where Joana Mallwitz and the Royal Concertgebouw Orchestra captivate. 

Komische Oper Berlin presents Leoš Janáček's masterpiece as a tight-knit psychodrama in a new production conducted by Giedrė Šlekytė.

Kálmán's operetta brilliantly updated to the super-rich of today, with starry singing from Annette Dasch and Pavol Breslik.

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Director Nikolaus Habjan took Oberon’s inherent miscellany and ran with it, straight into a retro-futurism aesthetic.

Katie Mitchell's second production of Jenůfa is a straightforward, effective reading of the libretto well supported by excellent singing actors.

Jean-Louis Martinoty’s scenically seductive Don Giovanni comes as a welcome relief from recent Regietheater aberrations. 

The backstory doesn’t bode well: three fugitive criminals decide to found a city that will pander to society’s most vital needs: food, sex, warfare, and alcohol.

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.

Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.

Julietta, Bohuslav Martinů’s seldom performed surrealistic opera of dreams and lost identity recently premiered in a new Zurich production.

James Levine led a solid and at times excellent performance of Die Meistersinger von Nürnberg in Otto Schenk's traditional production that somehow lacked sparkle and excitement.

Schubert's unfinished oratorio Lazarus joined with other interesting works by both Schubert and Charles Ives in a staged performance at the Theater an der Wien, directed by Claus Guth. Strongly cast, the musical juxtaposition works better than the oratorio itself, and the rather cold dramaturgy.

There are few London venues that manage to combine a real sense of intimacy with an international roster of artists quite as well as Julius Drake’s concert series at Middle Temple Hall. In this recital he was joined by German soprano Annette Dasch for a programme that began with a complete performance of Schumann’s Kerner Lieder.