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

Ulf Schirmer bows out as General Music Director as the last of Wagner's 13 operas completes a successful Festival Wagner 22 in Leipzig.

A new production of Lohengrin at Oper Leipzig is conceived as an intimate chamber opera and succeeds with brilliant musical performances.

With an excellent cast and sumptuous orchestral playing, Oper Leipzig delivers a vivid evening of enjoyment.

Despite some weakness in the main singers, the overall level of musical performances was consistently high in Leipzig, with a stark and effective production.

Siegfried in Leipzig succeeds on all fronts: an engaging production, a great ensemble of singers and a well-conducted orchestra.

Die Walküre in Leipzig turns the family drama into a tragedy of fear and anxiety, with glimpse of hope at the end.

Oper Leipzig's Das Rheingold unfolds with no set changes, giving Wagner's music plenty of opportunities to fuel the imagination.

In a state of almost child-like transfiguration and fulfilment, Strid's voice fully encompassed the extremes of the last scene.

An outstanding cast and Anthony Pilavachi's excellent production make a compelling case for Cinq-Mars at Oper Leipzig.

Christian von Götz's production doesn't all work, but he makes a viable, thought-provoking and entertaining show out of Weber's spooky classic.

Balázs Kovalik's new dystopian Turandot is musically rousing but let down by a production that's more 1970s TV series than slick modern sci-fi. 

Oper Leipzig served up Rienzi, der Letzte der Tribunen as the closing piece of its Wagner Festtage “Frühe Werke”. 

Where to place Wagner’s first opera Die Feen? Not a typical comedy, but it’s also not a tragedy. Oper Leipzig's powerful production is one to fall in love with. 

Oper Leipzig's co-production with Bayreuth Festspiele pulls off a delightful take on Wagner's Das Liebesverbot. With excellent vocals, the Gewandhaus Orchestra, and great wit, Wagner's comedy comes highly recommended.

Gilbert and the Gewandhaus gave us a Mahler 3 that was truly the representation of all of creation that the composer strove for. It's a symphony to keep coming back for.

The Leipzig Gewandhaus Orchestra under Alan Gilbert deliver a satisfying account of Mahler's titanic Third Symphony in the Berlin Festival, with a memorable solo from alto Gerhild Romberger.

For an inventive production, fine singing and magnificent orchestral playing, this new Leipzig Die Frau ohne Schatten deserves every success.

Leipzig routinely honours its native son with performances of Parsifal scheduled on and around Good Friday, which tempts a state of ritualized enactment best confined to the opera itself. (Vienna maintains the same tradition and is a magnet for self-appointed enforcers of the Bayreuth applause customs and their confrontational silencing of the ‘transgressors’.

Calixto Bieitos eigenwillige Sichtweise rundete sich mit Ulf Schirmers Dirigat zu einem Epos zwischen Melancholie und Apokalypse.

David Pountneys Meistersinger enttäuschen mit einer an Geschichtsverständnis mangelnden und trägen Inszenierung, die aber immerhin stimmliche Glanzmomente liefert.

Richard Strauss' Komödie wird in Leipzig im besten Sinn klassisch und doch herrlich lustvoll und ohne umdeutende Modernisierung wieder aufgenommen.

À l'Opéra de Leipzig, décors, lumières, costumes et orchestre prodigieux du Gewandhaus ont constitué un superbe écrin, enveloppant solistes et chœurs d'une Carmen très applaudie.

Eine grandiose Inszenierung bietet das Liebesverbot an der Oper Leipzig und ist eine Reise wert.