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Kálmán's operetta brilliantly updated to the super-rich of today, with starry singing from Annette Dasch and Pavol Breslik.

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Director Nikolaus Habjan took Oberon’s inherent miscellany and ran with it, straight into a retro-futurism aesthetic.

Katie Mitchell's second production of Jenůfa is a straightforward, effective reading of the libretto well supported by excellent singing actors.

Jean-Louis Martinoty’s scenically seductive Don Giovanni comes as a welcome relief from recent Regietheater aberrations. 

The backstory doesn’t bode well: three fugitive criminals decide to found a city that will pander to society’s most vital needs: food, sex, warfare, and alcohol.

The lack of shock value in Calixto Bieito’s interpretation of Wagner's Tannhäuser premiering at the Vlaamse Opera in Ghent could almost be seen as a disappointment. All the more surprising then was the romantic intimacy created in this superlatively sung production.

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.

Julietta, Bohuslav Martinů’s seldom performed surrealistic opera of dreams and lost identity recently premiered in a new Zurich production.

James Levine led a solid and at times excellent performance of Die Meistersinger von Nürnberg in Otto Schenk's traditional production that somehow lacked sparkle and excitement.

Schubert's unfinished oratorio Lazarus joined with other interesting works by both Schubert and Charles Ives in a staged performance at the Theater an der Wien, directed by Claus Guth. Strongly cast, the musical juxtaposition works better than the oratorio itself, and the rather cold dramaturgy.

There are few London venues that manage to combine a real sense of intimacy with an international roster of artists quite as well as Julius Drake’s concert series at Middle Temple Hall. In this recital he was joined by German soprano Annette Dasch for a programme that began with a complete performance of Schumann’s Kerner Lieder.

Suite et fin du brillant cycle Beethoven porté par les Wiener Philharmoniker et Andris Nelsons au Théâtre des Champs-Élysées.

Dans cette reprise d'une production créée en 2016, Bo Skovhus est magistral dans le rôle-titre. L'œuvre s'avère une nouvelle fois un des moments forts de la programmation de l’Opéra de Paris.

In der Dirndl-Inszenierung von Andreas Homoki liefern Robert Dean Smith und Annette Dasch einen gepflegten Repertoireabend.

En 2018, l’Orchestre philharmonique de Radio France prend une bonne résolution : désormais, le premier concert de l’année sera systématiquement consacré à la Neuvième Symphonie de Beethoven. Retour sur une « première » réussie.

Mit Carl Maria von Webers Spätwerk Oberon, König der Elfen hat die Bayerische Staatsoper zum Abschluss der Opernfestspiele 2017 eine eklektische Bühnen- und Klangwelt mutig inszeniert.

Freiheit und Brüderlichkeit sind damals wie heute die zentralen Werte, die Europa ausmachen. Unter diesem Gesichtspunkt gegang das BRSO den Abschluss des Open Airs am Odeonsplatz it Beethovens Neunter Symphonie.

Une nouvelle production ambitieuse et saissante du Lear de Reimann à l'Opéra de Paris, qui voit sombrer dans la folie un roi d'Angleterre interprété magistralement par Bo Skovhus.