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Laurent Pelly's long-standing production of Offenbach's opéra-fantastique returns to the Deutsche Oper Berlin, under the baton of Emmanuel Villaume.

Kasper Holten's decade-old production begins to show its age, in a routine revival with undistinguished soloists.

If you have dismissed this opera as overstuffed kitsch in the past, you might want to take a look at this production. It could well change your mind.

Meyerbeer's tale of the Anabaptist rebellion in the 16th-century religious wars proves to be a powerful thriller, with Clémentine Margaine and Gregory Kunde leading a very strong singing cast.

Conductor Ivan Repušić leads a successful revival of Verdi’s playful masterpiece, with a solid cast.

Anna Netrebko triumphs at the Deutsche Oper in a concert performance of Cilea’s masterpiece, under the baton of Michelangelo Mazza.

Runnicles and his Deutsche Oper Berlin forces deliver where it counts in a rousing account of the 'Resurrection'.

“Out of this wood do not desire to go!” Tytania orders Bottom. Glyndebourne's revival of Peter Hall's classic production of A Midsummer Night's Dream is eerily enchanting, weaving its spell right from the queasy double bass glissandos, which slither into Britten's score.

Luke Styles' all-male Macbeth for Glyndebourne, with a libretto lifted straight from Shakespeare by Ted Huffman, explores the bloody tragedy afresh – with a defiantly cool ending. 

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

Mis en scène par Kirsten Harms, Tannhäuser s'avère inégal. Se distinguent Ante Jerkunica (en Landgrave royal) et Camilla Nylund, formidable dans sa double interprétation de Venus/Elisabeth.