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At 78, Domingo rages against the ravages of time, and – certainly in this production – shows the next generation a thing or two about stagecraft.

During the “Salce” and “Ave Maria” in Act Four Bezsmertna turned this to magical effect, thinning out and floating her shimmering soprano into gossamer threads.

Jean-Louis Martinoty’s scenically seductive Don Giovanni comes as a welcome relief from recent Regietheater aberrations. 

Otto Schenk's Vienna production of Der Rosenkavalier has been mounted 366 times since its 1968 inauguration and there is definitely no demand for a new one.

Bravo to the Haus am Ring for a bloody good night of music, drama and beauty – an excellent first première of the season.

Last night’s performance, the second after a serious casting face-lift held to that tradition, and was very well received despite its inherent flaws, thanks to some very fine singing.

Stephen Gould und Krassimira Stoyanova triumphieren in einer unaufregenden Wohlfühlinszenierung von Adrian Noble.

Tatiana Serjan sticht in einer ansonst soliden Macbeth-Inszenierug von Christian Räth hervor.

Carlos Álvarez und Simon Keenlyside sind ein Duo Infernale: wer Falstaff mag, wird nicht so schnell einen besseren erleben.