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William Kentridge's production of Berg’s Wozzeck has it all: wonderfully imaginative and disturbing designs, terrific acting and singing plus fabulous orchestral playing. 

Ambur Braid excels in the title role in the Canadian Opera Company’s starrily cast revival of Atom Egoyan's production.

Vienna State Opera offered a solid production in which precious little gleamed.

Celebrating its 60th anniversary, the Chicago Symphony Chorus made this evening truly distinctive.

Gidon Kremer, long-time champion of Sofia Gubaidulina, joined the Berliner Philharmoniker and Christian Thielemann for a performance of In tempus praesens.

“Honour your masters!” Sachs instructs Walther in the final scene. Wagner's spirit was honoured well as Glyndebourne's festival opened, but did the song contest necessarily crown the right winner?  

Superlative vocal and instrumental soloists, led by Michael Schade as a vividly intense Evangelist, impress in Bach’s St John Passion at the Concertgebouw.

Canadian tenor Michael Schade confirmed his undisputed Mozartian credentials and brought vivid intensity to songs by Strauss at the Concertgebouw in Amsterdam.

Peter Stein stages Schubert's problem opera Fierrabras in a world of cardboard knights. This last opera of the Salzburg Festival is well sung, but you have to ask: is the last always the best?

Michael Schade and Justus Zeyen perform songs by Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn, Josef Marx, Richard Strauss and Hugo Wolf in Vienna's Konzerthaus.

Thunderous applause, numerous curtain calls; Stoyanova, Bĕlohlávek and a strong cast enjoy a fairy-tale reception in Sven-Bechtolf´s new production of Dvorak's Rusalka at the Vienna Staatsoper.

Vienna is a nostalgic town, and in few places is the past clung onto more tightly than at the State Opera, where a Tosca created for Renata Tebaldi has been pressed creakingly into service for over 55 years now.

The Theater an der Wien has a storied history with Fidelio, having hosted the première of the work’s first and second versions in 1805 and 1806 respectively.

It took me a while to warm to director Christopher Alden’s revisionist production of Johann Strauss II’s chestnut and whipped cream torte of an operetta, but gradually the outrageous battiness of it won me over.The story that Alden and his team fashion into a Freudian farce with touches of Bram Stoker goes like this.

Read our review of John Cox's production of ­Massenet's Thaïs in its 2008 broadcast from the Met Opera in New York.

Chor und Orchester schufen eine stilvolle, überzeugende Huldigungstonalität und -mentalität an die Kraft und Macht der Musik; und auch einige Solistentöne hallen im Ohrwinkel bis 2036 weiter.

À la tête de l'Orchestre de Paris, le chef colombien propose une lecture énergique de l'œuvre de Carl Orff, au détriment des subtilités de la partition. Les solistes se distinguent.

El XXV Ciclo de Lied cerró con un programa representativo en lo que a este repertorio se refiere: Schubert, Schumann, Brahms o Wolf, en una velada que se articuló a través de la alternancia de lieder, dúos, melodramas y poesías recitadas con Thomas Quasthoff, Michael Schade y Florian Boesch.

Das hr-Sinfonieorchester unter Andrés Orozco-Estrada liefert eine Elektra voller Durchschlagskraft und Intensität.

Die 1870 in Graz uraufgeführte dramatische Kantate kehrte in den Stefaniensaal zurück; eine interessante Begegnung mit einem raren, letztlich aber nicht besonders einprägsamen, Werk.

Nikolai Schukoff und Michael Schade sind am Festlichen Opernabend zu Gast und retten eine verstaubte Inszenierung aus den 1970er Jahren.

Das Theater an der Wien feiert sein 10-jähriges Bestehen mit einer von Nikloaus Harnoncourt eingerichteten Fassung der Leonore von 1806.