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Revived at Lyric Opera of Chicago, the notorious opera director’s take stirs sympathy for Salome, but leans on some of his theatrical hobby-horses

Tomáš Netopil and the Czech Philharmonic bring high energy to the Martinů Days festival with a smart, fresh take on Ariadne. 

The Czech Philharmonic offers a heartfelt tribute to some of the nation's most admired composers with help from contemporary stars.

Director Tatjana Gürbaca and Czech conductor Tomáš Netopil deliver a “Romantic” Kátya Kabanová from the Grand Théâtre de Genève at Brno’s Janáček Festival.

The Czech Philharmonic caps its Advent series with a fine showing of homegrown talent and a memorable Christmas gift.

Rudolf Buchbinder's deep expertise and the Czech Philharmonic's expressive gifts add another dimension to the composer's anniversary celebration.

What brought real distinction and authenticity to the evening, as so often in this house, was the outstanding playing of the Staatskapelle conducted by Tomaš Netopil. From the start of the overture with its rapidly scurrying fugato for strings and pointed phrasing from the woodwind one felt the true sense of Smetana’s Czech inflected rhythms and harmonies

Katie Mitchell's second production of Jenůfa is a straightforward, effective reading of the libretto well supported by excellent singing actors.

Tomáš Netopil directs ideal, ‘non-dairy’ performances of Mozart and Dvořák.

On its current concert tour in Switzerland, the Czech Philharmonic Orchestra treated audiences to a programme of works by two of its homeland's most illustrious composers.

The Dvořákʼs Prague festival wraps with four Prague alumni showing why they've gained international fame.

Conductor Tomáš Netopil combines the best of two worlds at the Dvořákʼs Prague festival.

Diana Damrau performs Mozart and Strauss at the Grafenegg Festival, located about an hour’s drive from Vienna.

Conductor Tomáš Netopil reprises the spirit of the festival and adds a modern burnish with an energetic performance of a smart, satisfying program.

The Vienna State Opera’s revival if their 2014 production of Janáček’s The Cunning Little Vixen with conductor Tomáš Netopil vividly realises the glowing colours of the composer's great affirmation of the eternal vigour of nature.

Revival of a 2014 production of Rusalka in Vienna was a great success musically with a splendid cast headed by last minute replacement Camillal Nylund.

To launch its 2015-16 season, the Essen Philharmonic set a new work inspired by life’s transience against the infinities of Mahler.

Czech conductor energises the London Philharmonic in three contrasting works, including one of the 20th century's greatest choral masterpieces.

The Netherlands Opera’s revival production of Prokofiev’s L’amour des trois oranges is sweet, juicy, and just a bit bitter in the right moments.This production presents Prokofiev’s piece in the original French with Dutch and English supertitles. At its first performance in Chicago in 1921, Prokofiev’s opera was presented in French rather than Russian. French is a sensible choice for this region.

Le metteur en scène rassemble pêle-mêle toutes les luttes sociétales contemporaines dans une lecture riche et intelligente mais qui n'est pas exempte de naïveté et a tendance à phagocyter l'espace musical.

Dans le chef-d'œuvre de Janáček globalement bien servi par la distribution, la mise en scène de Tatjana Gürbaca fait le pari judicieux d’un jeu psychologique pur, malgré quelques limites.

Le cinéaste hongrois Kornél Mundruczó propose une vision originale et puissamment dramatique du chef-d'œuvre de Janáček, portée par une Rachel Harnisch incandescente. 

Christian Räth präsentiert eine enttäuschende Inszenierung von Webers romantischer Oper voller übertriebener Klischees.

Christoph Waltz setzt auf blanken Ernst statt Komik – doch ein gutes Solistenensemble, ein solides Orchester und ein Schachzug verhindern eine Falstaff-Enttäuschung.

Während das Staatsopernorchester bei Leoš Janáčeks Oper begeistert, vermögen Sängerensemble und Inszenierung den Funken nicht so recht überspringen zu lassen.

On comprend, dès les premières notes – un fa dièse disséminé sans affèteries de part et d’autres des pupitres, gonflant au fil de chromatismes descendants – que Tomáš Netopil partage avec Dvořák ce doux mélange de colère saine et de pudeur, que l’on ne saurait imputer à leur seule parenté tchèque.