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David Pountney's vernacular translation and Ruth Knight's vivid staging lent a thrilling immediacy to Shostakovich's chilling opera.

Two notable debuts dominate Oper Leipzig's notable Lady Macbeth revival: Kristine Opolais as Katerina and Andris Nelsons in the pit. 

Andris Nelsons brings his Shostakovich project to a close in Boston with an incandescent performance of Lady Macbeth of Mtsensk. 

Shostakovich's murderess comes to terrifying life in Martin Čičvák's smart, sensational production for the Prague State Opera. 

Making her debut at the Metropolitan Opera, the wife of Met GM Peter Gelb crushes any talk of nepotism at the downbeat. 

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.

Harry Kupfer's vivid and enlightening production came alive by soprano Anja Kampe's courageous performance and by conductor Oksana Lyniv's briliant direction.

Ole Andreas Tandberg's production of Lady Macbeth of Mtsensk gets a revival in Oslo, and proves even more chilling than the first time around.

Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.

The Met's revival of Shostakovich's satirical opera of an oppressed Russian housewife's tragedy is a must-see event of the season.

Director Ole Anders Tandberg's new production of Shostakovich's Lady Macbeth of the Mtsensk District is gloriously sung, but the violent and vulgar production has a tendency to go overboard.