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Exceptional singing enlivens a flawed production, which takes liberties with the tone and tenor of Beethoven's sole opera.

Brecht and Weill’s political satire could hardly be more relevant, but Thomas Ostermeier and Maxime Balcon's new production fails to do it justice.

The Bayerische Staatsoper's revival of a controversial production containing Georg Baselitz’s artwork succeeds with strong musical performances led by veterans of Wagnerian operas.

Instead of telling a story of spiritual enlightenment and ultimate redemption through faith, Pierre Audi's reading is bereft of mystery and magic.

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.

Louis Andriessen’s new opera is a masterly expedition into the grand and grotesque mind of Athanasius Kircher, polymath and fantastist, but it is hampered by a clumsy libretto.

The set is a stark, grubby nonentity. A central concave structure spits out each scene's requisites, flashing up like apparitions from the vortex of Wozzeck's mind.

Under the direction of Heiner Goebbels, Ensemble Musikfabrik’s twenty-two multifaceted percussionist-vocalist-actor musicians executed an industrious performance of Partch’s magnum opus, The Delusion of the Fury.

Pierre Audis Inszenierung und das Sängerensemble angeführt von einem grandiosen Christian Gerhaher sorgen für einen denkwürdigen Opernabend.