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Aribert Reimann's Lear takes no prisoners in a disturbing portrayal of a world gone awry, but Barbora Horáková's scattergun direction adds to the confusion. 

Glorious music and excellent singing can't mask a simplistic staging of Smetana's last opera, an uneasy combination of rom-com and medieval legend. 

Aided by spirited singers and enthusiastic musicians, director Ondřej Havelka brings an imaginative, ironic touch to a lesser-known Smetana opera.

Andriy Yurkevych leads a rousing musical performance, but this visually impressive Nabucco tries to hard to be relevant and misses the mark.

The Prague National Theatre serves up a bright finish to its insightful, troubling tour of interwar music. 

Armida offers a compelling story, resonant issues and the spectacle of dueling wizards – but unfortunately, not in this production.

Franz Schreker's innovative study of artistic aspiration and despair gets a fresh look and loving musical treatment.

All the energy is in the pit in this flat production of a time-honored favorite.

Lively singing saves Magdalena Švecová's listless production of Il barbiere di Siviglia at the Národní divadlo.

“Who's dead, you or the old man?” asks Leporello after Don Giovanni’s duel with the Commendatore. What if the answer was that they had both received fatal wounds?

Slovak director Zuzana Gilhuus' serendipitous production could hardly be more timely.

Jiři Herman’s staging is authentically Japanese and focuses on the deliberate injustice of Butterfly's treatment, with strong performances in the lead roles.

Smetana's Libuše makes a timely reappearance in Prague.

Tradition and modernity are a mismatch in this uneven production of Mozart’s comic masterpiece.

Whilst the spirit of Mozart permeates the Estates Theatre in Prague, it was sadly absent in both the staging and singing of his “work of uninterrupted perfection”.  

Clumsy staging undercuts a fine musical performance at the National Theater's season finale.