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The challenges of Cherubini’s version of the Greek tragedy prove too much for the National Theatre to overcome.

Herheim’s maiden voyage in his new capacity as Intendant confirms his ability to deftly negotiate a less-than-straightforward work with care and ambition and add his own voice enthusiastically to the mix.

The music, a combination of Italian-sounding melodies, German instrumentation and Hugarian dotted rhythms, was remarkably captivating.

The Magic Flute's roots in popular theatre come through most strongly throughout Vick's production, which sparkles with a wealth of witty detail. But treatment of the work's socio-political undercurrents doesn't work nearly as well.

The big heart and generous melodies of Ferenc Erkel's fine opera shine through in difficult circumstances in Atilla Vidnyánszky semi-abstract new staging at the Erkel Theatre.

With a convoluted production and uneven cast, Tamás Pál in the pit and Klára Kolonits as Erzsébet Szilágyi prove to be the highlights of the performance of this Erkel classic.

Director Ole Anders Tandberg's production of Monteverdi's Il ritorno d'Ulisse expertly balances the line between irreverent humour and human tragedy.

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

Theodor Strassberger's Oslo production of Mozart's Don Giovanni offers a fresh, mostly well-sung take on an old classic.

Mirga Gražinytė-Tyla manejó con equilibrio sonoro tanto la orquesta como el escenario y dio vida a las demandas emocionales de la magnífica obra de Weinberg.

Eine moderne Inszenierung der Spätbarock Oper Dafne von Antonio Caldara liefert das Landestheater Salzburg zum Abschluss der Saison und zeigt, dass hier sowohl sängerisch wie inszinatorisch das beste tatsächlich zum Schluss kommt.