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Fragmentation to ritual: this was no Rite of Spring of two halves but a single, vast architectural crescendo.

The Grand Théâtre de Genève is certainly not risk-averse and Hungarian director Kornél Mundruczó controversially translates the action to a penthouse bar in New York.

Installation art sounds a dissonant note with the sublime harmony of Saint François d’Assise in Adel Abdessemed's creation at the Grand Théâtre de Genève. 

Director Milos Rau, composer Hèctor Parra and librettist Fiston Mwanza Mujila put the operatic spotlight on the fight for justice after a mining disaster in the DRC, with mixed results.

A grand rendition of Verdi’s Don Carlos opens season at the Grand Théâtre de Genève under the inspired baton of Marc Minkowski, in his first encounter with the opera, directed by Lydia Steier. 

Carried by a strong cast and impressive stagecraft, Christian Jost's new opera addresses the refugee crisis with sensitivity and grace. 

Director Tatjana Gürbaca and Czech conductor Tomáš Netopil deliver a “Romantic” Kátya Kabanová from the Grand Théâtre de Genève at Brno’s Janáček Festival.

More of a distraction than an enhancement, Ulrich Rasche’s giant steel machine grinds down the performers of this dark Elektra, which ultimately stumbles over its own feet.

Heroes emerge in adversity, and there are sterling turns from Leigh Melrose as a pugilistic Golaud and from the venerable Arkel of Matthew Best.

A century on from its birth, one of Switzerland’s leading orchestras finally makes its Proms debut in a scintillating programme of French and Russian music.

Plasson shows all his experience; Lavaudant surprises and delights with his direction; a strong cast sing their hearts out. Who can ask for more?

The performance bids for musical purity, but ends up stripped of story and emotion as well. 

A strong, compelling staging – coherent in aesthetic and philosophy, if a little restrained in performance. 

A Manon as sexy and unsteady as its heroine.

A huge revolving grey monolith centre stage dominated a grey floor, grey props and men in grey costumes, all detracting from the gaiety Verdi envisaged as the essence of Falstaff.

A striking staging of Rossini's Guillaume Tell at the Grand Théâtre in Geneva: well cast, beautifully sung and impeccably choreographed.

A fairly conventional version of Beethoven's Fidelio at the Grand Théâtre in Geneva plays it safe and ultimately succeeds. 

Neeme Järvi brought his fine Swiss orchestra to Manchester for a deeply moving evening of Pärt, Grieg and Tchaikovsky, leaving a large audience very quiet as they left the Bridgewater Hall.Tchaikovsky wrote his Sixth Symphony amid substantial personal turmoil, despite the relatively recent success of his Fifth.

The Orchestre de la Suisse Romande is as pleasing watch as to listen to. Under the directorship of the renowned Estonian conductor Neeme Järvi since 2012, the orchestra is clearly flourishing. From start to finish, it was apparent that the orchestra were deeply enjoying their performance and this only improved the performance itself.