Live, Video: Find classical music concert, opera, ballet and dance reviews | Thomas Johannes Mayer

Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

The Staatsoper revives a confused production by Hans Neuenfels, under the baton of Thomas Guggeis.

At the Enescu Festival n Bucharest Vladimir Jurowski celebrates the centennial of Die Frau one Schatten’s premiere.

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

David Alden’s new production for The Royal Opera, referencing fascist Germany, is drab, but there are musical compensations. 

Hans Neuenfels new Salome proves a strangely non-committal affair at the Staatsoper, but Thomas Guggeis conducts impressively.

With Andris Nelsons' withdrawal from Bayreuth last year, the BSO’s summer home, Tanglewood, became the venue for his Wagner with a concert performance of Das Rheingold

Die Walküre in Leipzig turns the family drama into a tragedy of fear and anxiety, with glimpse of hope at the end.

Stefan Vinke was a convincing, petulant, pouty Siegfried in the third episode in Wagner's Ring cycle in Vienna.

Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.

This Paris production of The Snow Maiden proves that director Dmitri Tcherniakov is today's greatest champion of Rimsky-Korsakov's operas. 

A compelling staging of Gluck's 1779 opera in Paris. 

Deutsche Oper Berlin's revival of Parsifal features a brilliant musical performances to override the production's focus on the dark side of religion.

Robert Dean Smith replacing an ailing tenor as Lohengrin was merely adequate but the rest of the cast and the superb orchestra made the modern production of Lohengrin in Munich memorable.

At the Bayerische Staatsoper, director Andreas Kriegenberg's concept for Siegfried works well, but the cast members aren't all up to the opera's challenges.

A perfect cast and great conducting make the Bayerische Staatsoper's Die Walküre thrilling and memorable.

Kriegenburg's staging of Wagner's Ring cycle begins with a visually appealing but intellectually empty Rheingold.

Zurich’s Opera House takes on Die Frau ohne Schatten, one of Richard Strauss’ most convoluted and technically demanding works. 

Klaus Florian Vogt's astounding portrayal of the swan knight continues to evolve and deepen in the once infamous "Rat" Lohengrin in Bayreuth in a evening of sheer brilliance and near perfection.

For an inventive production, fine singing and magnificent orchestral playing, this new Leipzig Die Frau ohne Schatten deserves every success.

Though it has run for 45 years, the Deutsche Oper Berlin’s Tosca is both timeless and a relic. Stand-in tenor Stefano La Colla's impassioned performance drew a standing ovation. 

The new Netherlands Opera performance of Richard Wagner’s only comic opera Die Meistersinger von Nürnberg was an absolute success. Spanning a daunting four-and-a-half hours, the evening kept us wanting more rather than searching for the clock.

Richard Strauss and Hugo von Hofmannsthal began their collaboration on Die Frau ohne Schatten (The Woman Without a Shadow) with utopian ambitions. Unfortunately they weren’t the same ones. For Hofmannsthal, this would finally be the opera where his poetry would be illuminated by rather than buried under the music.

Ivo van Hoves nicht jugendfreie Inszenierung treibt Brechts moralischen Zeigefinger humoristisch (und erfolgreich) auf die Spitze.

El reto Tristan und Isolde, en versión semiescenificada en el Teatro Real, logró alcanzar el éxtasis musical en una velada que arrancó largas ovaciones y vítores.

Tcherniakovs Holländer feiert die erste Wiederaufnahme – mit gestandenen Festspielgrößen und einer eindrucksvollen Debütantin.

Manfred Trojahns Oper beginnt, wo Richard Strauss' endet: einmal noch wird Orest im Auftrag Elektras töten.

Rusalka revient à l'Opéra de Paris dans la mise en scène de Robert Carsen, qui prône le réalisme au détriment du merveilleux. 

La nouvelle production de l'opéra dodécaphonique inachevé de Schönberg, premier acte de l'ère Lissner à Paris, met en valeur le travail remarquable du Chœur de l'Opera de Paris, dans une mise en scène plastique très conceptuelle de Romeo Castelluci.

Nach dem umstrittenen Pelléas feierte Montagabend mit Arabella eine andere mit Spannung erwartete Produktion Premiere - konnte durchwegs überzeugen.