Live, Video: Find classical music concert, opera, ballet and dance reviews | Tobias Kehrer

Jay Scheib spices up the visual experience with digital content in his production of Parsifal. Sounds good. But is it?

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

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.

Deutsche Oper Berlin returns in rousing style with a pared-down, open-air Rheingold on its “Parkdeck”.

Frederic Wake-Walker sticks to a vapid pop-parody that demeans the intellectual message of Strauss' Ariadne auf Naxos.

Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.

The passion of Alban Berg's music under Donald Runnicles fights against a disjointed production by Ole Anders Tandberg.

The Deutsche Oper's production of Rossini's sparkling occasion piece is big on gags but short on stardust.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Stage director Ole Anders Tandberg casts Carmen as the leader of a gang of human organ dealers.

The musical experience was dominated by the imagery making spectators feel, at least at times, overwhelmed.

Zubin Mehta brings a great deal of class to most things he conducts at La Scala, and here his bright account of Mozart's score was a joy. 

Eric’s dream of a love story with no redemption in Christian Spuck's new production of Der fliegende Holländer at Deutsche Oper Berlin. 

In spite of some questionable staging, Lyric Opera of Chicago opened its Ring cycle on a strong note with a stellar cast, notably featuring Eric Owens’ role debut as Wotan.

Enjoy this light and elegant opera buffa based on the play by Pierre Augustin Caron de Beaumarchais before year's end, as 2016 marks the 200th anniversary year of its premiere.

Stage director Rodrigo Garcia makes a controversial opera debut with The Abduction from the Seraglio in Berlin. 

Elektra, as performed during the Deutsche Oper Berlin Strauss-Wochen: Such gorgeous music, we will all want to dance ourselves to death.

You think semi-staged opera is only half the fun? Think again. Glyndebourne's production of Mozart's oriental opera was a revelation.

David McVicar updates Mozart's Singspiel Die Entführung aus dem Serail to the time of composition in a stylish, tender production at Glyndebourne. 

Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.

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. 

Clémentine Margaine and Riccardo Massi star as the troubled lover's in the Deutsche Oper's classic, yet bloodless, production of Carmen.

What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before. 

Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Harry Kupfer updates the action of Der Rosenkavalier to the early 20th century in an evocative production for the Salzburg Festival.

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.

Christian Spuck's new La damnation de Faust for the Deutsche Oper Berlin is creepy and elegant. Its impact will stay with you long after the opera is finished.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

Richard Strauss and Hugo von Hofmannsthal’s Ariadne auf Naxos was first performed in 1912, in a production directed by Max Reinhardt. Unlike the version usually seen today, this first Ariadne was a long-winded play-opera-ballet hybrid, incorporating a full production of Molière’s Le bourgeois gentilhomme with dances to incidental music by Strauss followed by the short opera.

Diese Vorstellungsserie ist dem Andenken des Regisseurs dieser Produktion, Hans Neuenfels (1941-2022) gewidmet.

So schließt sich der Kreis. Mit Siegfried wird nun der letzte Teil von Stefan Herheims Ring an der Deutschen Oper Berlin enthüllt.

Der langersehnte Herheim-Ring kann nun endlich mit einem aufschlussreichen und spannend erzählten Rheingold beginnen.

Ivor Bolton en la batuta y Claus Guth en la escena mostraron el universo lacerante de un Don Giovanni agotado.

Claus Guth nos traslada a un entorno sombrío y lúgubre para narrar las horas finales de un Don Giovanni herido de muerte.

Die überladene Inszenierung kann den Sängern, angeführt von Lise Davidsen, nicht das Wasser reichen.

Gelungene Haus- und Rollendebüts sowie ein nuancenreiches Orchester tragen zu einer ganz besonderen Walküre bei.

Cette reprise de La Flûte dans la mise en scène de Robert Carsen nous dévoile un casting vocal à la hauteur des exigences de la partition, et nous démontre une fois de plus la capacité du metteur en scène à traduire avec poésie et grâce les sentiments les plus perfides qui bien souvent s'expriment dans les rapports les plus intenses entre les êtres.

Trotz starker musikalischer Leistungen geht Claus Guths Salome-Konzept an der Deutschen Oper nicht auf.

Bei einer Inszenierung, die nicht für jeden aufgeht, bietet diese Produktion viel Freude für die Ohren.

Harry Kupfers Rosenkavalier bei den Salzburger Festspielen ist und bleibt ein mitreißendes Erlebnis: Stimmliche Höchstleistung treffen darstellerische Exzelenz und viel Liebe zum Detail.