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Kosky’s production manages to maintain all hallmarks of a 16th-century fairy tale, while juxtaposing them with questions of deep human, political and artistic problems. Regietheater at its best.

Bayreuth's controversial Ring returns with a new conductor and a refreshed cast.

Solid singing proves to be the main attraction of an ineffective new staging of Die Walküre at the Hungarian State Opera.

The set is a stark, grubby nonentity. A central concave structure spits out each scene's requisites, flashing up like apparitions from the vortex of Wozzeck's mind.

Castorf's anarchic take on Siegfried pushes well beyond his treatment of the earlier parts of the Ring, and not all the heroics from Stefan Vinke, Wolfgang Koch and Catherine Foster can rescue the evening.

The first installment of Frank Castorf's controversial Ring is applauded on its 2015 revival at Bayreuth, but arguably the incessant visual action detracts from the appreciation of the music. 

Janáček turned, after a life of much unrest and complexity, to a theme of apparent simplicity shrouding much more complex issues: a fairy tale.

Malgré la direction décapante de Jérémie Rhorer, cette nouvelle production pâtit d'une distribution globalement peu à son avantage et d'une mise en scène tiède et littérale.

Ungewöhnliche Bilder und außergewöhnliche Rollengestaltung durch Michael Volle finden auch in diesem Jahr frenetische Zustimmung.