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Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

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

Claus Guth's production foregrounds the regimented, repressive world that drives the plot of Janáček’s tragic masterpiece.

Argentinian film director Damián Szifron's production is lauded in Naples, as are star soloists Anita Rachvelishvili and Brian Jagde.

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

Daniel Barenboim conducts an underwhelming cast in the Staatsoper's new Samson et Dalila, and Argentinian director Damián Szifron's operatic debut is stale and cliché-ridden. 

A splendid cast led by Ann Hallenberg does justice to an integral version of Handel’s masterpiece under the baton of Ian Page.

A revival of Stefan Herheim's production of Handel's Xerxes in Düsseldorf makes for a rip-roaring evening of theatrical comedy.

This production fell just short of brilliance but showed how relevant and thought-provoking opera as an art form can be when tapping into today's headline debates.

With many costume changes, notably into a Sun-King with very prominent phalic sunburst, Houtzeel held centre-stage in the title role.

A mural depicting Etna erupting is the only hint of Sicily in Stefan Herheim’s opulent staging, returning to Covent Garden for the first time since the Royal Opera’s Verdi bicentenary celebrations in 2013. 

Mozart's very notes become servant to the cause in an ingenious staging of Le nozze di Figaro by one of today's most esteemed directors.

Zombie clowns abound in Stefan Herheim's uncomfortably comical and upsetting Copenhagen production of Alban Berg's Lulu.

Puccini is one of opera’s best loved composers. With so many popular titles to his name, it is somewhat surprising how infrequently his first great success, Manon Lescaut, is performed today. What makes this even more unusual is the opera’s universal appeal.

Dans son dernier opéra, le compositeur s'aventure vers la contemplation, tandis que le metteur en scène n'hésite pas à aller à l'encontre de la partition...

Stefan Herheim legt Händels Oratorium ins Wiener Café Central – verführerisch wie die Kuchenvitrine.

Oratorium oder Oper? Claus Guth macht daraus in München ein mitreißendes Drama voller Anspielungen und Komik.

En création mondiale au Festival d'Aix-en-Provence, Il viaggio, Dante du compositeur français échoue à transmettre la dimension poétique de l'œuvre originelle et bascule dans des ressorts psychologiques dignes d'une série TV.

Leider scheitern die guten Ideen des Regisseurs, Philipp Himmelmann, an der Umsetzung.

Entre l'imaginaire de Pedro Calderon, celui de Lewis Caroll ou encore de Jonathan Swift, cette nouvelle production signée Stefan Herheim invite à la réflexion sur la frontière entre folie et sommeil, illusion et réalité, amour et raison.

Die Bayerische Staatsoper inszeniert Verdis Un ballo in maschera in stummfilmhafter Eleganz und setzt dabei insbesondere auf ausdrucksstarke Stimmen.

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

Lady Gaga + Captain Jack Sparrow = Xerxes. Nach dieser Formel inszenierte Stefan Herheim Händels Oper als barocken Bilderrausch, der mit großartigen musikalischen Leistungen zum vollen Erfolg wurde.