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András Almási-Toth production of the original version of Mussorgsky's historical epic underwhelms in Budapest. 

Peter Eötvös' 13th opera – the first in his native Hungarian – premieres at the Eiffel Art Studios in Budapest. 

Cast and orchestra excel in a sensitive linking of Gluck’s music and drama in Róbert Alföldi's simple, direct production at the Hungarian State Opera.

Calixto Bieito takes on Prokofiev's Tolstoy epic – and wins in the opera's Hungarian premiere. 

Hartmut Schörghofer's updated concert staging receives strong singing from everyone and a thrilling orchestral performance.

The music, a combination of Italian-sounding melodies, German instrumentation and Hugarian dotted rhythms, was remarkably captivating.

As part of the annual Wagner festival in the Hungarian capital, Peter Seiffert and Allison Oakes star as the doomed lovers.

A new production of Humperdinck's charming opera fails to enchant at the Erkel Theatre. 

Oliver von Dohnányi leads a great orchestral performance to drive Meyerbeer's grand historical epic, lit up by sparkling coloratura from Klára Kolonits.

The big heart and generous melodies of Ferenc Erkel's fine opera shine through in difficult circumstances in Atilla Vidnyánszky semi-abstract new staging at the Erkel Theatre.

The Hungarian State Opera offered up a belated Hungarian première by one of its native sons, Péter Eötvös – his 2007 opera Love and Other Demons.

Polish opera director Michał Znaniecki created a new version of Zoltán Kodály’s 1927 The Spinning Room, a short one-act which is basically a collection of 21 Hungarian folksongs that Kodály had selected from the Székely region.

Hungarian State Opera mount a successful première of Thomas Adès's take on Shakespeare, with the show stolen by Laure Meloy's Ariel.

Young bohemians give Puccini’s opera the refreshing radiance of youth. 

In a reconstruction of Jean-Pierre Ponnelle’s production for the world première of Reimann’s soul-pummelling Lear, the staging stands the test of time, but the cast and orchestra leave the biggest impression.

Any director taking on Weber’s Der Freischütz faces big challenges. Sándor Zsóter’s production for the Hungarian State Opera takes risks, with very mixed results.

The devil may not get all the best tunes in Gounod’s Faust, but Gábor Bretz certainly stole the show in this new production at Hungarian State Opera.