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In the hands of B'Rock Orchestra and conductor René Jacobs, Telemann's polyglot opera, once thought lost to time, becomes more than just a curiosity.

A largely newly cast revival of The Rake's Progress takes a while to catch fire, but when it does the results are devilishly good.

Reflections on mortality provided by the French contralto Nathalie Stutzmann conducting the London Philharmonic Orchestra and Choir in two works by Richard Strauss and Mozart.

Paula Murrihy's role debut in Frankfurt not only proves to be infatuating, but also irresistibly cool.

L'Orontea was premièred as turbulent Carneval entertainment in 1656. Now it is experiencing a fast-paced new staging as modern opera gag at Frankfurt Opera.

Where is the line? Where does the stage end and the audience begin? This is what Australian director Barrie Kosky probes in his production pairing Purcell's Dido and Aeneas with Bartók's Bluebeard's Castle.

Twenty-eight immobile cast members faced the audience from the long white bench which comprised the totality of Katrin Lea Tag’s bare set. Meanwhile, a floor-level, period instrument orchestra delivered the attention-grabbing, minor key Overture to Purcell's 1688 Dido and Aeneas.

Brigitte Fassbaender kehrt für ihre vierte Produktion an die Oper Frankfurt zurück und inszeniert Brittens Shakespeare-Vertonung im surrealen Zauberwald.

Der Charaktere einmütiges Leid ist meine Freude über Telemanns seltene, trilinguale Oper in erneuter Wiedererweckung durch René Jacobs.

Das Opernhaus des Jahres präsentiert zwei Werke des Barockkomponisten Pergolesi.

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

Željko Lučić als Gast zu Haus: Wieder singt er eine hinreißende Partie an der Oper Frankfurt.

In einem minimalistischen Bühnenbild aber durch höchst intensive Charakterisierung der Figuren gelingt an der Frankfurter Oper mit Händels Radamisto ein außergewöhnlich packender Opernabend.