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Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

When is The Nutcracker not The Nutcracker? When's it's mashed together with Tchaikovsky's Iolanta to represent the blind princess’ inner world in a dark interpretation. 

With a brand new production by Barrie Kosky, Komische Oper Berlin's first venture into the Sondheim repertoire mostly falls flat.

Handel's seldom-performed Hercules becomes the latest oratorio to undergo the Kosky treatment at Komische Oper. 

Brought to life by some sensational singing from a strong cast, Kosky's staging delivers repeated emotional punches. 

A dearth of nuance affects this new production of Verdi's late masterpiece in Berlin, set in Sir John's gourmet kitchen. 

Frozen lava rock extends from the proscenium to the backcloth, an apt image to depict the harm Don Giovanni inflicts upon the other characters in Mozart's darkest opera.

Sophisticated interpretation of The Bassarids by Hans Werner Henze at the Komische Oper Berlin

Barrie Kosky's divisive production returns to The Royal Opera but has lost its zing. 

Barrie Kosky's troubled production returns to Covent Garden

Marlis Petersen's Alcina bloomed for a knockout “Ah! mio cor!” just in time for intermission.

Barrie Kosky's punchy, visually exhilarating take on Saul, with Iestyn Davies as a sublime David, makes for a powerful evening of drama at Glyndebourne.

Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.

Claus Guth's production of Handel's last oratorio lands in Paris, where William Christie leads Les Arts Florissants and a stellar cast. 

Sorochyntsi Fair was last performed at Berlin's Komische Oper in 1948 by the legendary stage director Walter Felsenstein. Now Barrie Kosky, stage director and intendant, has tried his hand.

The stunning Glyndebourne production of Saul by Barrie Kosky also makes a big impact in the Adelaide Festival.

Concerto Köln, honed to perfection, and an accomplished cast star in Claus Guth's tense, dark staging of Handel's Jephtha. 

Barrie Kosky's production, revived for the tour, turns Handel’s 1739 Old Testament oratorio Saul into a gripping psychodrama. 

Barrie Kosky, with nods to the surreal and the macabre, plunges us headlong into Hoffmann’s nightmarish world in a terrific new production at the Komische Oper.

Director Michael Thalheimer staging Weber’s Der Freischütz entirely in the Wolf’s Glen, albeit relocated from a “fearsome forest gorge” to what looks like a badger’s sett. 

With the help of a star-studded cast, Barrie Kosky's imaginative staging delivers a production of Handel's Saul which has just about everything going for it: choreography, voices, acting. A must-see.

Where is the line? Where does the stage end and the audience begin? This is what Australian director Barrie Kosky probes in his production pairing Purcell's Dido and Aeneas with Bartók's Bluebeard's Castle.

After Cavalli’s Ercole Amante in 2009 and Handel’s Deidamia in 2011, De Nederlandse Opera is continuing its exploration of obscure Baroque operas with Gluck’s Armide, until 27 October.I always wondered why Armide was Gluck’s own favourite work.

Rameau's Castor et Pollux, his take on the Greek myth of two brothers so close that Pollux is prepared to descend into hell in the place of Castor, isn't exactly one of the standards of the repertoire.