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Calixto Bieito takes on Prokofiev's Tolstoy epic – and wins in the opera's Hungarian premiere. 

The Hungarian State Opera's revival of The Magic Flute lacks a little magic. 

Klára Kolonits's marvellous Lucia is the only thing brightening the bleak performance of the Hungarian State Opera's new Lucia di Lammermoor.

Opening the weekend that marked the 60th anniversary of the Hungarian revolution, The Mine (A Bánya), the first of Rautavaara's nine operas, dramatizes events from those turbulent times. 

Polish opera director Michał Znaniecki created a new version of Zoltán Kodály’s 1927 The Spinning Room, a short one-act which is basically a collection of 21 Hungarian folksongs that Kodály had selected from the Székely region.

Although with a promising concept, the Hungarian State Opera’s new production ultimately proved underdirected.

Underwhelming performances, all too tempestuous conducting and an aesthetically pleasing but puzzling production fail to thrill.

Inadequate production and mixed performances characterize the Hungarian State Opera's new Trovatore.

In a reconstruction of Jean-Pierre Ponnelle’s production for the world première of Reimann’s soul-pummelling Lear, the staging stands the test of time, but the cast and orchestra leave the biggest impression.