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Digital projections make Opera Ballet Vlaanderen’s Parsifal seem alienating and strange, but the singing is terrific and the orchestra sounds sensational.

At the Bregenz Festival, director Philpp Stölzl gives us a radical updating of the classic, with an interpretation many miles away from Weber.

The Bayreuth Festival's new Ring gets off to a promising start with a tautly directed Rheingold, but will we find out what it all means?

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Kosky’s production manages to maintain all hallmarks of a 16th-century fairy tale, while juxtaposing them with questions of deep human, political and artistic problems. Regietheater at its best.

The label “most opera directors” does *not* apply to Barrie Kosky, who makes his Bayreuth debut with a Meistersinger that pulls no punches.

Despite a miscast Isolde, Wagner's operatic monument to love makes its mark in the production by the composer's great-grandaughter.

Handel's Susanna at the Göttingen International Handel Festival is unforgettable, a revelation.

A conceptually diffuse production of Tristan from Katharina Wagner is partially redeemed by stirring orchestral playing under the direction of Christian Thielemann and some fine singing at the opening of the Wagner Festival at Bayreuth.

Die Wiederaufnahme von Tristan und Isolde an den diesjährigen Bayreuther Festspielen bekommt mit dem Einspringer Clay Hilley als Protagonist eine neue Dynamik.

In Yuval Sharons deutungsüberladener Inszenierung setzten Christian Thielemann am Pult sowie Klaus Florian Vogt als Lohengrin leuchtende Glanzpunkte.

Ungewöhnliche Bilder und außergewöhnliche Rollengestaltung durch Michael Volle finden auch in diesem Jahr frenetische Zustimmung.

Impression mitigée au sortir de ce long voyage musical de près de quatre heures.