Live, Video: Find classical music concert, opera, ballet and dance reviews | Nicole Chevalier

Relentlessness is the keyword of Aribert Reimann’s modernist Lear, in a stripped-down new Komische Oper Berlin production by Barrie Kosky.

Late step-in Nicole Chevalier, baritone-turned-director Matthias Goerne and conductor Frank Beermann combine their talents to create a landmark production at the Capitole de Toulouse.

Salome is faceless and the Dance of the Seven Veils becomes a sardonic commentary on seduction in Komische Oper Berlin's austere new staging. 

Peter Konwitschny's production of La traviata has its flaws, but in an age of protracted media there is much to be said for his taut production of Verdi's most famous tragedy. 

House debutants, soprano Nicole Chevalier and conductor Lidiya Yankovskaya, excel in Isabella Bywater's Górecki staging to close English National Opera's season.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

Sam Brown's sparse production leaves nothing to focus on but the individual protagonists on stage. 

Peter Konwitschny's production strips away much of the religious symbolism, presenting the difference between Jews and Christians as little more than the dyed colour of their hands. 

Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.

Handel’s Semele is presented as a flashback at the Komische Oper in Berlin. 

A woman, mother and outcast needs to make life choices in a hostile environment.

Before the beginning of each opera, an announcement is made reminding the audience not to film, photograph, tweet, post, google, snapchat... Komische Oper Berlin premieres a hilarious Barber of Seville where the singers do nothing but just that.

There may be spiders, or zombies above your head. A spook show? Berlin's Komische Oper premiers a gothic musical theatre work by Heinrich Marschner... and it is a gory, good romp.

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.

Benjamin Britten’s 100th birthday was celebrated on Thursday at the Berlin Konzerthaus with a spectacular performance of his seminal War Requiem.

Signs of birth and death – but moreso death – flash continuously through the Latvian director Viestur Kairish’s new production of Britten’s A Midsummer Night’s Dream, which opened the Komische Oper Berlin’s 2013/14 season.

Die Zauberflöte is a work whose outward simplicity masks internal complexity and even contradictions. Mozart’s music is childishly tuneful and yet reaches for the classically sublime; Emmanuel Schikaneder’s libretto alternates a magical quest story out of a German storybook with Masonic claptrap and secondhand Voltaire.

Viktorianische Rüschen, verrutschte Schnurrbärte und Katia Ledoux als Mezzo-Piratenkönig. Die Inszenierung an der Volksoper sorgt sichtlich für Unterhaltung, kann die Schwächen von Gilbert und Sullivan aber nicht wettmachen.

La mise en scène de Dmitri Tcherniakov portait de belles promesses, comme la direction musicale de Thomas Hengelbrock... Hélas, l'ensemble du projet a pris l'eau en même temps que l'arrivée de la pluie.

Dans cette production bâloise, l'expérience théâtrale et la composition des personnages sont tellement réussies que les limites de la distribution et de la direction musicale importent peu.

Raphaël Pichon leitet eine musikalisch fantastische Aufführung. Leider schleicht sich aufgrund der Inszenierung jedoch die eine oder andere langweilige Minute ein.

Les Contes d’Hoffmann reviennent à La Monnaie. Si la mise en scène hollywoodienne de Krzysztof Warlikowski montre ses limites, l'interprétation musicale n'appelle que des éloges.

Auch nach vier Jahren lockt die Produktion von Mozarts Evergreen das Publikum in Scharen ins Opernhaus und verspricht einen anregenden Abend.