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Klára Kolonits's radiant Elsa proves the main attraction in the Hungarian State Opera's visually appealing but conceptually lacking new Lohengrin.

Hungarian State Opera's cut-down, dramatically inert Gioconda fails to ignite the stage in Budapest, despite a solid musical foundation. 

Martin Rajna's energetic conducting and Gabriella Balga's glorious Elisabetta are the bright spots in this flashy but empty house premiere of Donizetti's classic.

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.

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

Hungarian State Opera revives their mostly period production of Strauss' Arabella with star turns by sopranos Polina Pasztircsák and Laura Topolánszky.

Andrea Brassói-Jőrös shines in the title role of János Szikora's new staging of Dvořák's fairy tale opera. 

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

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

Balázs Kovalik’s interpretation of Elektra is revived in Budapest, impressing until the B-movie cliché finale. 

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

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

Balázs Kovalik’s opulent staging of Boito's Faustian opera threatens to overshadow the singers, but it makes for an exciting spectacle.

Szilveszter Ókovács' new production matches the opulent venue in all its eye-candy, with dazzling costumes, dark sets large crowds, and rapid scenic changes made possible by a newly installed mechanical stage. 

Considered Hungary's national opera, Ferenc Erkel's Bánk bán rarely travels beyond its borders, but is given a rousing performance by the Hungarian State Opera. 

The Hungarian State Opera presents a new modern production of Don Carlo by a director who depicts the historical cruelty as very much present in our world today.

The Master and Margarita is a spectacular extravaganza indeed, streamed from Hungarian State Opera's Eiffel Art Studios.

The Hungarian State Opera's revival of The Magic Flute lacks a little magic. 

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

Stephen Gould is less than convincing in the lead role of Tannhäuser, but excellent ensemble work under Ádám Fischer's inspired direction offers compensations.

The score of Goldmark's opera is filled with lovely orchestral surprises, in addition to stunning arias, but is often filled with an abundance of slow tempos.

With a convoluted production and uneven cast, Tamás Pál in the pit and Klára Kolonits as Erzsébet Szilágyi prove to be the highlights of the performance of this Erkel classic.

This double cast, nine-day revival of Vadim Milkov's staging of Pique Dame offers a relatively straight reading of Tchaikovsky's opera about the obsessive Pushkin-based character Herman. Embracing the opera's choral and dance passages, spectacle and pageantry are paramount; the drama's surreal and more nuanced dimensions could have been better profiled.

Klára Kolonits's marvellous Lucia is the only thing brightening the bleak performance of the Hungarian State Opera's new Lucia di Lammermoor.

Quality singing impresses in Puccini's opera at the Hungarian State Opera, despite a dusty staging.

Although with a promising concept, the Hungarian State Opera’s new production ultimately proved underdirected.

Underwhelming performances, all too tempestuous conducting and an aesthetically pleasing but puzzling production fail to thrill.

Singers delight in a rare concert performance of Bellini's opera.

The big man in the fat suit rules the show, briging vigour and joie de vivre to Hungarian State Opera's Falstaff.

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

Inadequate production and mixed performances characterize the Hungarian State Opera's new Trovatore.

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.

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.

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

Erwin Schrott seduces the Budapest audience with smiles, but Zerlina steals the show in Budapest. 

Rarely performed, Boito’s Mefistofele is an audacious, spectacular opera, needing an audacious, spectacular staging to do it justice. That’s exactly what it gets in Balázs Kovalik’s production for Hungarian State Opera.

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.