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Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

A Ring cycle of sustained excellence closes with telling contributions from Foster, Vinke and Pesendorfer in the three lead roles.

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

Based on Theodor Fontane's novel Oceane von Parceval, Detlev Glanert's eleventh opera is given its world premiere at Deutsche Oper.

Carsen's scaled-down Ring makes a timely comeback with a melancholy message of decay.

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. 

The production was interesting but at times distracting, but the musical performances triumphed. 

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

Frank Castorf's controversial but supremely well-cast Ring cycle is provocative to the last.

A modern updating of Vasco da Gama's discovery of a sea route to India? Vera Nemirova's stylish production of Meyerbeer's Grand Opéra works inteligently for the most part. 

Every operatic ingredient was thrown into the pot for H.K. Gruber's Geschichten aus dem Wiener Wald (Tales from the Vienna Woods), but do too many cooks spoil this operatic broth?

Michaela Kaune, Albert Pesendorfer, Eun Yee You and Elīna Garanča transported the audience to a lost time and place, even while embodying their characters’ ultimate timelessness. 

Deutsche Oper's production of Turandot ends with a double murder. Whatever point director Lorenzo Fioroni may have been trying to make about unhinged power, it failed to solve the problems of the ending of Puccini's opera.

The cast performs on flying, technicolor sofas in this colorful rendition of Mozart's Die Entführung aus dem Serail. In an unusual revision of the text, we are guided through the opera by a narrator and backdrop artist.

Deutsche Oper Berlin’s Billy Budd, although musically satisfying, suffers through an ambiguously set production. 

Parsifal at the Deutsche Oper Berlin is both sublime and terrifying. Vincke's Parsifal was bold and heroic while Herlitzius sang with a silver, sinuous soprano. Stolzl's production gave us the fanaticism of religion rather than hope.

The Magic Flute at the Deutsche Oper Berlin is an interesting, well-sung and well-performed classic. Set in an agrarian world where Sarastro is less a high priest than he is a benevolent farmer-king, Günter Krämer’s 1991 production does not subvert the opera’s problems so much as it highlights them.

Was kommt nach der Freiheit? In seiner Fidelio-Neuinszenierung zeigt David Hermann eindrucksvoll, wie die Revolution ihre Kinder frisst.

Stefan Herheim schmiedet seinen Ring des Nibelungen an der Deutsche Oper Berlin mit einem Finale, das es in sich hat.

Deux mois après une production controversée à Aix, Jérémie Rhorer retrouve son plateau soliste pour une flamboyante version de concert.