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Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

Director Lotte De Beer's thoroughly realized, aesthetically rich and beautifully executed production of Janáček's masterpiece is anchored by strong performances from Nina Stemme and Svetlana Aksenova.

Dutch National Opera revives Pierre Audi's acclaimed Die Walküre for the very last time.

Things went from good to great in the course of the Götterdämmerung highlights.

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.

Orchestra and chorus reach great Wagnerian heights in this new production by Christof Loy, a study of an artist in revolt against hypocritical sexual mores.

Leading five choirs, fine soloists and a glowing Netherlands Philharmonic, conductor Marc Albrecht emphasised the human struggle in a highly dramatic performance of Mahler’s mammoth eighth symphony.

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

An exemplary cast, an opulent orchestra and unforgettable images in Arnold Schoenberg’s Gurrelieder.

A strong cast, a lyrically simmering orchestra and lucid staging make this a Tristan und Isolde to treasure.

An unlikely coupling of one-act operas by Zemlinsky and Puccini bears fruit in a staging that reveals their thematic parallels while leaving their obvious differences on show.

Bechtolf's seductively imaginative staging consists in a flat pack fairytale world full of surprises that delight like the contents of a pop up book.

Clarity and mounting horror in the orchestra pit, the full truth and ugliness of the human condition onstage. Dutch National Opera’s new production of Wozzeck is stomach-churning for all the right reasons.

With its monumental sets designed by Anish Kapoor, Pierre Audi’s abstract Parsifal at Dutch National Opera is spectacular, led by the excellent Christopher Ventris, with Günther Groissböck shining in his role debut as Gurnemanz. 

A feast for the eyes in Zurich, but is the visual stimulation in Herbert Fritsch's production of Der Freischütz just too much?

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.

At Dutch National Opera, director Lotte de Beer’s reminds us who the Hänsels and Gretels of the 21st century are, juggling between harsh reality and heartening fairy tale in a spectacle that both delights and unsettles.

To celebrate its 50th birthday Dutch National Opera put on a festive tribute to the people that have made it the innovative and much-admired house it is today.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

The Nederlands Philharmonisch Orkest gave a fine performance of little known works by Schoenberg and Korngold at the Concertgebouw, alongside Mahler’s First Symphony.

Outside of the opera pit, Marc Albrecht and his Netherlands Philharmonic Orchestra demonstrated their magic at the Concertgebouw.

The Netherlands Philharmonic Orchestra gives a patrician performance of Verdi’s Macbeth and Scott Hendricks is riveting in Andrea Breth’s claustrophobic exploration of oppression and derangement.

A fine cast and orchestra revive Simon McBurney’s twilit, inventive Magic Flute at Dutch National Opera.

With its minimalist but grandiose sets, the imposing sound of the Choir of the Dutch National Opera and the excellent conducting of Marc Albrecht, there is much to be enjoyed in this revival of Pierre Audi’s Lohengrin in Amsterdam.

Marc Albrecht’s tribute to Richard Strauss featured soprano Emily Magee in a poignantly elusive Four Last Songs and culminated in a stupendously played Thus Spoke Zarathustra.

Dutch National Opera opens its season with a musically and visually staggering world premiere: the first ever operatic staging of Arnold Schoenberg’s heaven-storming Gurre-Lieder.

A strong cast stars in Christof Loy's unsettling rethinking of Richard Strauss’ Arabella at the Dutch National Opera.

Known as “the most European of American orchestras,” Cleveland’s stellar ensemble is usually at its most interesting when a European conductor comes to town. But this was more a case of the orchestra maintaining its standards despite, not because of, a visiting maestro. 

The new Netherlands Opera performance of Richard Wagner’s only comic opera Die Meistersinger von Nürnberg was an absolute success. Spanning a daunting four-and-a-half hours, the evening kept us wanting more rather than searching for the clock.