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Asmik Grigorian leads a searing performance in Martin Kušej’s 15-year-old, yet ever-fresh, outstanding production of Dvořák's opera.

Fine musical performances meet Andrea Breth's dreary new production in a dramatically unsatisfying evening at the Staatsoper.

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

An aesthetically handsome but cold and distant staging mars the long-awaited return of  Eva-Maria Westbroek as Puccini’s heroine at Dutch National Opera.

Martin Kušej's production of La forza del destino is hard hitting and intelligent: an imperfect orchestral performance is more than compensated for by an outstanding cast of singers.

The Netherlands Philharmonic Orchestra gives a patrician performance of Verdi’s Macbeth and Scott Hendricks is riveting in Andrea Breth’s claustrophobic exploration of oppression and derangement.

Martin Kušej’s modern production of La forza del destino emphasizes that familial and religious oppressions can be one and the same, destroying the love of free spirits.      

Anna Netrebko makes a glorious role debut as Lady Macbeth in a revival of Martin Kušej's jumbled production of Verdi's first Shakespeare opera.

Wegen Warnstreiks innerhalb weniger Stunden auf der Münchner Bühne eingerichtet: Verdis hier halbszenischer Macbeth beeindruckte durch hochklassiges orchestrales und sängerisches Niveau.

Dans cette production berlinoise décevante et faussement actuelle, seuls l'orchestre et la superstar Sonya Yoncheva parviennent à convaincre.

Andrea Breth geht mit ihrer Inszenierung bis an die Grenzen und schafft einen Abend extremer Emotionen.

L’affiche regroupe dans un diptyque inattendu Il Prigioniero de Luigi Dallapiccola et Das Gehege (L’Enclos) de Rihm. Deux opéras qui posent les bonnes questions.