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Attila Mókus's dramatic baritone was scornful at one moment, tender, distressed, vengeful, or broken in mourning at others, vocal signposts in Rigoletto’s descent into the hell of his own making.

Hungarian State Opera presents Idomeneo for the first time in almost 50 years in a musically superb, but controversial pandemic-informed dystopian setting.

In András Almási-Toth's engaging new production, magnificent orchestral and choral performances let Wagner's music do the talking.

Powerful and evocative imagery, both literal and implied, lingered on beyond the drop of the curtain.

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

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 third installment of Géza M. Tóth's staging of the Ring, this Siegfried is visually striking, but it's only a strong cast, and above all Egils Silins' Wanderer, that makes it worth attending.

Miklós Szinetár's production for Hungarian State Opera is easy on the eye, but perhaps a little too beautiful for its subject matter.

Known for her powerful interpretations of the blockbuster Italian mezzo roles, the great Hungarian diva Ildikó Komlósi dominates the new production of Aida in Budapest.

Excitingly conducted and largely well-sung, this sumptuous but unfussy Turandot should please both traditionalist and adventurous operagoers.  

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.