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Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

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

Vasily Petrenko's time as Chief Conductor of the Liverpool Philharmonic draws to a close with a celebratory evening of Shostakovich, Schreker and more.

An afternoon programme by the Sydney Symphony Orchestra featuring Beethoven's Triple Concerto and Brahms' Third and shorter pieces by Schreker and Harry Sdraulig offers pleasant but somewhat underwhelming impressions.

An era is drawing to a close in Liverpool, but here Vasily Petrenko makes a greater case for the neglected Franz Schreker than for one-dimensional incidental music by Shostakovich.

In Cologne, Stravinsky's neoclassicism comes up against the echt-romanticism of Schreker and Korngold, ending in a draw.

Thomas Søndergård and Steven Osborne make a well matched team in music ranging from Mozart to the fin-de-siècle.

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.

The Spanish director offers a controversial angle but tones it down to focus on dark psychology rather than spectacle in his staging of Schrecker's hothouse opera.

The musical glories of Schreker’s glistening, late-Romantic score are laid bare in the Bavarian State Opera’s first production of Die Gezeichneten since 1919.

Gil Shaham and Juraj Valčuha join the San Francisco Symphony for electrifying performances reminding listeners of the true joy of dialogic music-making and the excitement of high-caliber ensemble collaboration.

A dramatic new work from Nicola LeFanu with soprano Rachel Nicholls and the BBC Symphony Orchestra under Ilan Volkov, together with a fine account of Schreker's Nachtstück.

A concert of music from the beginning of the 20th century with Pons and the BBCSO, including a performance of music by neglected opera composer Franz Schreker.

John Cage's unusual approach to composition is somewhat infamous. Thanks to his piano work 4'33" he's been firmly placed on the musical map as something of an oddball, and while that particular work may take his eccentric style to the extreme, the methods underlying his other works are equally intriguing.

David Bösch monte une formidable nouvelle production d'Irrelohe de Franz Schreker, compositeur encore trop rarement joué. Sous la baguette habile de Bernhard Kontarsky, Ambur Braid se distingue dans le rôle d'Eva.

Schöne Momente, aber auch einige Längen, bietet das 8. Orchesterkonzert im Stefaniensaal mit den Grazer Philharmoniker. 

Der polnische Pianist und das ZKO zeigen bei Haydn, Mozart und Schrekers spätromantischem Intermezzo in audiovisueller Präsentation zu wenig Biss und Wagnis.

Mit einem österreichisch-ungarischen und russischen Programm überzeugt das RSO Wien einmal wieder im Wiener Konzerthaus.

Unter der Leitung von Chefdirigent Dirk Kaftan spielte sich das Grazer Philharmonische Orchester in einen Klangrausch, in dessen Strudel es nicht alle Solisten leicht hatten, andere wiederum glänzen konnten.

Die Premiere von Franz Schrekers Oper Der ferne Klang am Nationaltheater Mannheim überzeugte mit einer gelungenen musikalischen Darbietung, war jedoch gewöhnungsbedürftig und eigenwillig inszeniert.