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Romeo Castellucci's intense production of Bartók's opera reaps its rewards in the performance under Teodor Currentzis, but Carl Orff's opera-oratorio De temporum fine comoedia feels little more than a drab filler. 

Teodor Currentzis, conducting the SWR Symphony Orchestra, and Yulianna Avdeeva do Prokofiev proud in his Third Piano Concerto and Fifth Symphony: all the colours of the rainbow delivered with sophistication, élan and boundless effervescence.

The pairing of controversial director and bad-boy conductor brings some thrills but the Salzburg Festival's new Don Giovanni proves disappointingly uninvolving. 

An all-day Beethoven experience European style with both highs and lows: much diversity revealed and exploited but of variable quality.

Say what you like, Teodor Currentzis understands the music of Mahler, especially in that composer's final symphonic statement, to the manner born.

In Currentzis' vision, Verdi's Requiem was both a spectacle and a soul-searching exercise for the musicians, as well as for the listeners.

The musicians of MusicAeterna were impassioned, engaged and energised into a single force in this performance of Verdi's Requiem at the Aix Easter Festival.

Teodor Currentzis, on tour with the SWR Symphony Orchestra, pairs two Russian masterpieces written a century apart: Tchaikovsky's Fifth Symphony and Schnittke's Viola Concerto with Antoine Tamestit.

Theodor Currentzis and his musicAeterna bring blistering detail and revelatory playing to Wunderhorn-period Mahler, but it ultimately proves short on warmth. 

The Greek conductor and his hand-picked Russian orchestra offer high-voltage Beethoven that crackles.

The transfer of last year's Clemenza di Tito from Salzburg delights and irritates in equal measure.

Teodor Currentzis and his musicAeterna players from Siberia together with Alexander Melnikov venture into familiar musical territory.

Grimaud married incredible precision and rigour with moving sensitivity and ease. She led the listener clearly through the score without dropping a detail, but never gave the feeling that she was micro-managing.

Patricia Kopatchinskaja and the Tonhalle Orchestra Zurich under conductor Teodor Currentzis brought the audience to its feet with works by Alban Berg and Dmitri Shostakovitch.

Mozart was supposed to be the composer of La clemenza di Tito but it was really a critical edition of Metastasio’s opus by Teodor Currentzis.

This Lenten concert given by Currentzis and MusicAeterna at Vienna’s Konzerthaus was certainly solemn and atmospheric – the auditorium was shrouded in darkness from beginning to end.

Teodor Currentzis, bad boy of early music, appeared at the Konzerthaus Berlin with Patricia Kopatchinskaja and MusicAeterna for a performance that turned it up to 11.

In David Hermann's new production, confusion reigns, but the performance is saved by the singing. 

Barrie Kosky’s new Macbeth is devoid of riff-raff, shrill costumes and anything trivial. Instead, it’s a feast for the imagination, a case for modern opera at its very best. 

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence. 

Video artist Bill Viola fills Tristan und Isolde with mesmerising images. Peter Sellars stages and Marc Piollet conducts a cast where King Marke reigns, at the Teatro Real in Madrid.

“Music of doubt, music of questions, music of search”. This is how Peter Sellars, the stage director for this production of The Indian Queen, sees the music of Purcell in general and this piece in particular. Sellars has reportedly wanted to present his take on this semi-opera for decades. Finally, the Teatro Real, Perm Opera and English National Opera have joined forces to make it a reality.

As my seatmate remarked to me after the concert, it is strange and wonderful to hear Benjamin Britten and Dmitri Shostakovich, who befriended each other late in life, begin to sound alike in their old age while remaining unmistakably themselves. I agreed.

Après une courte et énergique création de Marko Nikodijević, Teodor Currentzis et musicAeterna soulèvent le public de la Philharmonie avec une Symphonie n° 4 de Chostakovitch monumentale, aux sommets terrifiants.

La Filarmónica trae a Madrid a la SWR Symphonieorchester y al siempre agitador Teodor Currentzis con la Primera de Mahler.

Es war ein Abend der Extremen in der Berliner Philharmonie.

Currentzis Überpräzisierung lässt beim Brahms-Requiem die Leidenschaft vermissen.

À la Philharmonie de Paris, le chef d'orchestre gréco-russe dirige ses troupes de MusicAeterna dans un Requiem de Verdi extraordinaire de minutie et de fluidité mêlées.

Teodor Currentzis y musicAeterna, por vez primera en Ibermúsica, se presentaron con páginas de Mahler; Anna Lucia Richter y Florian Boesch contribuyeron a una velada excelsa.

Auch ohne Szene ein Genuss: Teodor Currentzis musiziert rein konzertant mit musicAeterna in der Elbphilharmonie eine außergewöhnlich gefühlvolle Traviata.

Ob tänzelnder Rausch, titanischer Trotz oder Tempo: bei MusicAeternas aktuellen Tour waren Expressionserfahrungen und Überraschungen garantiert.

Nicht alles passte in dieser La clemenza di Tito im Konzerthaus Dortmund; unbestritten anregend aber waren die dramatischen Effekte, vor allem das Auskosten des Leisen, der Milde, der Stille.

Lange hat man Mozart in Salzburg nicht mehr so mitreißend erlebt. Mit dem neuen Titus gelingt Neo-Intendant Markus Hinterhäuser ein Coup, der erhoffen lässt, dass sich Salzburg einer neuen goldenen Ära entgegenbewegt.

L’Indian Queen de Purcell aura ravi à Genève les auditeurs d’un drame baroque tellement moderne. Les héros de cette fresque amoureuse malheureuse auront suscité bien des émotions qui perdureront longtemps tant leur implication fut totale. Bravo !