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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.

Wagner demands vocal resilience from the large cast of singers in Das Rheingold, but Willy Decker wants strong thigh muscles as well.

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

A strong, compelling staging – coherent in aesthetic and philosophy, if a little restrained in performance. 

Before the beginning of each opera, an announcement is made reminding the audience not to film, photograph, tweet, post, google, snapchat... Komische Oper Berlin premieres a hilarious Barber of Seville where the singers do nothing but just that.

Uwe Eric Laufenberg sets his new staging of Wagner's final opera among the persecuted Christians of the contemporary Middle East – but avoids preaching.

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

Bayreuth's controversial Ring returns with a new conductor and a refreshed cast.

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.

Signs of birth and death – but moreso death – flash continuously through the Latvian director Viestur Kairish’s new production of Britten’s A Midsummer Night’s Dream, which opened the Komische Oper Berlin’s 2013/14 season.

Sérieuse et sans condescendance, profitant d'un plateau vocal de premier plan, la mise en scène de Damiano Michieletto séduit le public bruxellois.

Cette Flûte Enchantée, aussi visuelle que musicale, est un spectacle pour tous, idéal pour initier à l’opéra les petits comme les grands.

Barrie Kosky spielt in einer neuen Fassung von Die Krönung der Poppea an der Komischen Oper mit traditionellen Konventionen des Männlich-Weiblichen.

Precedida por una gran atención mediática, el templo wagneriano estrena producción de su obra más propia. Un propuesta en la que destacan las voces y que resulta superficial a pesar de sus ambiciones.

Axel Köhlers Inszenierung nimmt den Zuschauer mit auf einen quietschbunten, nebenwirkungsfreien LSD-Trip, auf dem man in den Genuss eines spielfreudigen Ensembles und transparent musizierenden Orchesters kommt.