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Exceptional singing enlivens a flawed production, which takes liberties with the tone and tenor of Beethoven's sole opera.

A strong cast led by an energetic Pablo Heras-Casado struggles in the revival of Jürgen Flimm's ill-conceived 2012 production.

Jürgen Flimm bowed out of his role as Intendant of the Berlin State Opera with the German premiere of Salvatore Sciarrino's Ti vedo, ti sento, mi perdo.

The work takes its inspiration from the life of the little known Italian composer Alessandro Stradella who ended his life stabbed by killers sent by the husbands of his innumerable mistresses.

Jürgen Flimm's take on Schumann's Faust Scenes offers no solutions to self-imposed problems at the Staatsoper unter den Linden's glitzy reopening.

The Met revived Beethoven's only opera Fidelio with a strong cast and excellent chorus and orchestra, with a production that celebrates liberty and love.

The Met revived Jurgen Flimm's modern production of Salome, with Patricia Racette making a successfu last minute role debut in the title role.

With a light-voiced cast and gentle updating, the Staatsoper's new Manon Lescaut makes a good case for Puccini's difficult breakthrough opera.

Jürgen Flimm takes so many liberties with Mozart’s La clemenza it should be re-titled “Tito’s Lament”.

The set is a stark, grubby nonentity. A central concave structure spits out each scene's requisites, flashing up like apparitions from the vortex of Wozzeck's mind.

After an absence of 145 years, Teato alla Scala staged Gioachino Rossini's Otello in a painterly Jürgen Flimm production, sparse set inspired by conversations with Anselm Kiefer.

Handel's Il trionfo del Tempo e del Disinganno at the Berliner Staatsoper with Les Musiciens du  Louvre Grenoble.

Fidelio, Beethoven's only opera, is on the most universal of themes: the oppression of the innocent by the powerful and the virtue of the struggle for a loved one. It could be set at any time in any place, from Ancient Rome or China to our modern world.