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Aribert Reimann's Lear takes no prisoners in a disturbing portrayal of a world gone awry, but Barbora Horáková's scattergun direction adds to the confusion. 

The director drains the life out of an impassioned opera with a staging devoid of authenticity and ideas.

The challenges of Cherubini’s version of the Greek tragedy prove too much for the National Theatre to overcome.

A chilly reception for director Kay Link's fresh take on a mythical Czech heroine mars an otherwise superb performance.

Directors Martin Kukučka and Lukáš Trpišovský, who work together as SKUTR, take on Dvořák’s Rusalka with a surfeit of ideas. 

Superb singing and brilliant work in the pit can't quite rescue Jiří Nekvasil's overambitious production.

Aided by spirited singers and enthusiastic musicians, director Ondřej Havelka brings an imaginative, ironic touch to a lesser-known Smetana opera.

Barbora Horáková's imaginative updating of The Marriage of Figaro sags under its own weight at the Estates Theatre, Prague.

Armida offers a compelling story, resonant issues and the spectacle of dueling wizards – but unfortunately, not in this production.

The Spanish director's emotionally-sapped staging for the Prague National Theatre travels to Brno for the Janáček Festival.

Powerful visuals can't compensate for an otherwise empty production of Janáček’s gripping tragedy.

Franz Schreker's innovative study of artistic aspiration and despair gets a fresh look and loving musical treatment.

All the energy is in the pit in this flat production of a time-honored favorite.

A talented cast labors under the yoke of a gender-conscious Così fan tutte in a new production at the Estates Theatre. 

Lively singing saves Magdalena Švecová's listless production of Il barbiere di Siviglia at the Národní divadlo.

Slovak director Zuzana Gilhuus' serendipitous production could hardly be more timely.

Magdalena Švecová's staging for Prague National Theatre wins hearts with ensemble work full of verve and costumes that are pure eye candy.

A colorful, light-hearted approach captures the spirit of Prokofiev's LʼAmour des trois oranges.

Realism elbows aside romanticism in this dark departure from a star-studded tradition.

Smetana's Libuše makes a timely reappearance in Prague.

More than 200 years after Mozart premiered La clemenza di Tito at the Estates Theatre, Marc Minkowski reveals there are still surprises to be found.

The National Theatre opens its new season with a Verdi favorite short on substance but lovely to hear.

Clad in sulphurous yellow with beaded jet shoulder pads she looked well able to vanquish Lohengrin in single combat with the swish of her cloak.

A new opera at the National Theater takes on a tragic chapter of communist history with mixed success.

Whilst the spirit of Mozart permeates the Estates Theatre in Prague, it was sadly absent in both the staging and singing of his “work of uninterrupted perfection”.