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The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund.  Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.

Yesterday, the Bayreuth Festspielhaus, where devotees of Richard Wagner converge annually from all over the world, opened its doors again for this year’s festival. Traditionally presented on the first evening, the new production for this season was Tannhäuser und der Sängerkrieg auf Wartburg (to use the opera’s full name), presented to a capacity audience.

Michael Volle and Klaus Florian Vogt demonstrate that they are indeed master singers in Munich, despite adversity, in a revival of David Bösch's contemporary production.

Antonio Pappano and the Royal Opera Orchestra get the Ring cycle off to a blazing start; unusually, it's Lise Davidsen and the female cast who take the vocal honours.

Stephen Gould is less than convincing in the lead role of Tannhäuser, but excellent ensemble work under Ádám Fischer's inspired direction offers compensations.

The Cleveland Orchestra celebrated its 100th anniversary with a memorable concert performance of Tristan und Isolde with magnificent Nina Stemme.

Kirill Petrenko’s second night at Carnegie Hall packed a punch as the orchestra of the Bayerische Staatsoper delved deep into Strauss’ score, supporting an impressive cast of singers.

A festive air was palpable – the house was technically sold out – as the first of a set of three Ring cycles launched at the Wiener Staatsoper. 

Frank Castorf's controversial but supremely well-cast Ring cycle is provocative to the last.

Bayreuth's controversial Ring returns with a new conductor and a refreshed cast.

Neuenfels' production of Manon Lescaut for the Bayerische Staatsoper is strange but coherent. With a perfect cast and tight musical direction, this is about as good as Puccini opera gets.

Patricia Petibon manages to portray an absolutely charming Manon. She spans the space between innocence and worldliness and remains consistently energetic and delightful. 

In this second year of Bayreuth's bicentennial Der Ring, Oleg Bryjak shines as an outstanding Alberich. Frank Castorf's production is striking but as yet incomprehensible.

Art installation of a biogas factory is the setting for a mostly undistinguished musical performance.

Nina Stemmes' glorious Brünnhilde crowns a towering performance of Götterdämmerung at the Vienna State Opera. 

Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.

Vienna is a nostalgic town, and in few places is the past clung onto more tightly than at the State Opera, where a Tosca created for Renata Tebaldi has been pressed creakingly into service for over 55 years now.