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Norwegian soprano Lise Davidsen returns to Sven-Eric Bechtolf's lean but polished production with an outstanding cast, outstandingly conducted. 

Vincent Huguet's 2019 production of Richard Strauss‘ masterpiece is given a stupendous revival at the Wiener Staatsoper with an excellent ensemble of soloists.

Lise Davidsen's thoughtful role debut at the Marschallin rescues a production that is often at odds with the story it seeks to tell.

Already a psychodrama as written, the Salome according to Cyril Teste takes us deeper into what makes the protagonist – or is she a tragic heroine? – into who she is.

Stoyanova’s extraordinary performance as the Feldmarschallin made 394th revival of Otto Schenk’s 1968 production of Der Rosenkavalier an occasion to savor.

That Boris was sung by a Ukrainian in times like this might or might not have been a coincidence. But that Alexander Tsymbalyuk was an excellent choice for the role is indisputable. 

In much anticipated role (Kaufmann) and stage (Davidsen) debuts, this revival of Peter Grimes at the Staatsoper was much anticipated, despite a production that should be put out to sea without a paddle.

Kate Lindsey’s voice is luminous, effortlessly regulated in every register, and intertwined magically with the gleaming soprano of Slávka Zámečníková, a very special new jewel in the Staatsoper ensemble who is every inch a star.

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.

Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.

The outstanding trio of Nylund, Stemme and Herlitzius soars above a Vienna State Opera Orchestra in thunderous form, led by Christian Thielemann to celebrate the Staatsoper's 150th birthday in style.

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. 

The Staatsoper's new Falstaff is a production that is attractive not only visually, but also in terms of the varied musical color.

Sir Simon and Berln Philharmonic triumphed in a thought-provoking production of Tristan und Isolde with a fine ensemble of singers.

Shadow puppet serpents and policemen in tutus: Moshe Leiser and Patrice Caurier's production of Die Zauberflöte is graced with a strong cast. 

Love and death are the two basic ingredients of the standard opera plot, and the more tragedy involved from the first to the last, the more likely it is to spur composers to set it to magnificent music. Andrea Chénier is a textbook example of this although it is not anywhere near as popular as La traviata, Carmen or La bohème, and explicably so.

Germany is the land of Regie-Theater, opera in which the director’s vision is paramount, and where that vision frequently contains an alternative tale in a modern setting based on thoughts that the opera has inspired in the director.