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Christian Thielemann shows his lighter side, while the Berlin Philharmonic play music they haven't touched in nearly a century.

Although Damiano Michieletto's new production resembles an expensive drama workshop, it’s the marvellous performances that make this such a moving Jenůfa.

The catchy title of Ardent Desire signposted the Orchestra of Bavarian State Opera's latest Monday evening live streamed concert: two pieces of high Romanticism from Schubert and Strauss. 

Karina Canellakis steps in for Esa-Pekka Salonen to make an accomplished debut in Munich. 

The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund.  Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.

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.

Six excellent singers bring out the best in Wagner's dramatic narrative, marred only by a Ride of the Valkyries that fails to convince.

The outstanding trio of Nylund, Stemme and Herlitzius soars above a Vienna State Opera Orchestra in thunderous form, led by Christian Thielemann to celebrate the Staatsoper's 150th birthday in style.

Leading five choirs, fine soloists and a glowing Netherlands Philharmonic, conductor Marc Albrecht emphasised the human struggle in a highly dramatic performance of Mahler’s mammoth eighth symphony.

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

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

Jonas Kaufmann and Camilla Nylund tackle the roles of Tristan und Isolde for the first time in Andris Nelsons' all-Wagner concert. 

Camilla Nylund’s rich, ample voice bloomed in the glorious setting of the sonnet, cosseted by burnished horn playing, in Strauss' unsurpassed operatic farewell to the soprano voice.

Stefan Herheim's eagerly awaited production of Berg's Wozzeck distances us from the emotional heart of the tragedy by portraying the story as a hallucinatory death-room experience.

Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

Visually inconsistant but some mesmerising perfromances in Kirsten Harms' production. 

Die tote Stadt at the Vienna State Opera features strong playing and singing but little drama.

Not even the musical genius of Daniel Barenboim could turn Harry Kupfer’s irritating Sitzprobe production into a “Namenlose Freude”.

These two Manchester-based choirs formed a formidable partnership for one of the most gruelling choral works in the repertoire. The four soloists, however distinguished as individuals, produced mixed results.

Revival of a 2014 production of Rusalka in Vienna was a great success musically with a splendid cast headed by last minute replacement Camillal Nylund.

Sir Mark Elder led the Royal Concertgebouw Orchestra and an inspired team of soloists headed by Klaus Florian Vogt into a highly-charged performance of Lohengrin.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

City of Light: Paris 1900-1950 was the stimulus behind an evening of impressive performances of inspirational music by Ravel and Stravinsky.

Art installation of a biogas factory is the setting for a mostly undistinguished musical performance.

Conductor Yannick Nézet-Séguin invokes an unattainable glimpse of heaven in a uniquely crafted Verdi Requiem. 

Nobody puts Wagner in a corner: the Staatsoper’s new Lohengrin has some excellent qualities, but ultimately just needs more space. 

Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.

Wagner’s Lohengrin was the last work the master completed before settling into a mid-career six-year slump. During this compositional hiatus, he wrote the poems for his Ring operas and ruminated in print on various topics, musical and otherwise, but work on the music dramas essentially ceased.

This opening concert to Vienna OsterKlang festival was a reproduction of sorts: on 5th April 1803 a slate of Beethoven works including the first and second symphonies, the third piano concerto and the oratorio Christus am Ölberge was performed in this very theatre.

Most of Dvořák's ten operas are rarely performed, but Rusalka, his tragic fairy tale of the water nymph who takes human form, has become popular in recent years and is a regular visitor to British opera houses. Last night's production, by directors Jossi Wieler and Sergio Morabito, started life at the 2008 Salzburg festival and has now arrived in Covent Garden.

When Richard Strauss first wrote Salome, he was unable to get it performed in his home city of Vienna, so shocking was the material with its heavy eroticism and necrophiliac ending (the première was in Dresden). A century on, times are more permissive, and Salome features in the seasons both of Vienna's Volksoper and of the Staatsoper, where we saw it last night.

Zu einem Triumph wurde die Rückkehr des einstigen Generalmusikdirektors Franz Welser-Möst; ebenfalls zurück kehrte die 30 Jahre alte Inszenierung von Harry Kupfer.

À Berlin, la nouvelle production du Rosenkavalier par André Heller fait un sans-faute, portée par un casting cinq étoiles.

Strauss-Versteher Christian Thielemann lädt am hundertsten Jahrestag der Welturaufführung zum musikalischen Träumen ein.

Reprise mitigée de l'opéra de Richard Strauss au Théâtre des Champs-Elysées : Olga Pudova, Camilla Nylund et Kate Lindsey tiennent le haut du pavé ; Katie Mitchell échoue à divertir.

Rusalka revient à l'Opéra de Paris dans la mise en scène de Robert Carsen, qui prône le réalisme au détriment du merveilleux. 

Christian Räth präsentiert eine enttäuschende Inszenierung von Webers romantischer Oper voller übertriebener Klischees.

« More corn than gold », ironisait Irving Kolodin, à propos du compositeur viennois alors très en vue à Hollywood, mais tenu pour moins sérieux par la Neue Musik. La postérité n’aura donné que partiellement tort à ce critique à la dent dure, en n’exhumant que rarement l’œuvre de Korngold après la seconde guerre mondiale. 

Le samedi 30 janvier 2016, La Ville Morte de Korngold était programmée à l'Auditorium de la Maison de la Radio. Marzena Diakun dirigeait un Orchestre Philharmonique de Radio France en pleine forme et une distribution vocale dominée par Camilla Nylund. Un délice.

La mise en scène de Stefan Herheim scrute l’ambiguïté de la nymphe tchèque dans une éblouissante production.