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Designer/director Antony McDonald treads a perfectly weighted path between light and dark of the fairytale; conductor Sebastian Weigle cooks up a Wagnerian storm; Michaela Schuster steals the show. A treat.

Camilla Nylund’s rich, ample voice bloomed in the glorious setting of the sonnet, cosseted by burnished horn playing, in Strauss' unsurpassed operatic farewell to the soprano voice.

Achim Freyer's production robs Humperdinck's fairy tale of heart and drama at the Lindenoper.

After Jan Lisiecki gave an immaculate interpretation of a perennial Mozart piano concerto, Sebastian Weigle revelled in the brassy bravura of a symphony which remains virtually unknown in the city where it was composed over a hundred years ago.

Iain Paterson's house debut as the Holländer was sufficient reason to drop anchor in the Main for this revival of David Bösch's 2015 production. 

The Met revived Beethoven's only opera Fidelio with a strong cast and excellent chorus and orchestra, with a production that celebrates liberty and love.

Frankfurt Opera's 2012 production of Götterdämmerung with its emphasis on the contemporary human issues was a successful conclusion of the revived Ring.

The third installament of the Ring in Frankfurt took full advantage of the architecturally ingenius set to complement great music making by the orchestra and singers.

Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.

Sebastian Weigle leads a somewhat light-footed but satisfying account with a fine orchestra and good ensemble of singers in an architecturally stunning production.

Die tote Stadt’s bid for the mainstream proceeds with a musically strong revival of a perceptive if flawed staging at Oper Frankfurt

A revival of the new production of Die Frau ohne Schatten at the Munich Opera Festival brings back four of the principals in a brilliantly sung performance of Richard Strauss' masterpiece.

Anja Kampe brilliert als Katerina Ismailova in Schostakowitschs letzter Oper.

Lydia Steier liefert mit einem doppelten Opernabend ein überzeugendes Hausdebüt an der Oper Frankfurt.

In der Dirndl-Inszenierung von Andreas Homoki liefern Robert Dean Smith und Annette Dasch einen gepflegten Repertoireabend.

Der Frankfurter Siegfried hält in seiner Inszenierung durch Vera Nemirova kaum Überraschungen bereit. Trotz volltönendem Klang bleibt die Ausgestaltung der Figuren zu oft zermürbend schematisch.

Vera Nemirova inszeniert an der Frankfurter Oper ein etwas abgegriffenes Rheingold. Das Frankfurter Opernorchester unter Sebastian Weigle jedoch bereichert mit schlankem Wagner-Klang aus klaren Konturen und sicher gesetzten Effekten.

Musik und Szene kommen in Christof Loys Deutung von Alban Bergs Wozzeck in Frankfurt zu einer perfekten Übereinstimmung, wodurch die Aufführung große emotionale Ausstrahlung gewinnt.