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Despite its enigmatic details, Bayreuth's Parsifal reaches a cathartic climax. 

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.

Michael Volle and Klaus Florian Vogt demonstrate that they are indeed master singers in Munich, despite adversity, in a revival of David Bösch's contemporary production.

The label “most opera directors” does *not* apply to Barrie Kosky, who makes his Bayreuth debut with a Meistersinger that pulls no punches.

Daniele Gatti is the winner of the night, managing to draw an astounding outcome from a far from ideal cast.

Uwe Eric Laufenberg sets his new staging of Wagner's final opera among the persecuted Christians of the contemporary Middle East – but avoids preaching.

Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.

Art installation of a biogas factory is the setting for a mostly undistinguished musical performance.

Precedida por una gran atención mediática, el templo wagneriano estrena producción de su obra más propia. Un propuesta en la que destacan las voces y que resulta superficial a pesar de sus ambiciones.

Die Bayerische Staatsoper hat Richard Wagners Die Meistersinger von Nürnberg unter großen Staraufgebot als Sängerfest inszeniert und auf eine ideenschwangere Inszenierung verzichtet

Entre l'imaginaire de Pedro Calderon, celui de Lewis Caroll ou encore de Jonathan Swift, cette nouvelle production signée Stefan Herheim invite à la réflexion sur la frontière entre folie et sommeil, illusion et réalité, amour et raison.