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Anna Netrebko triumphs at the Deutsche Oper in a concert performance of Cilea’s masterpiece, under the baton of Michelangelo Mazza.

Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.

The passion of Alban Berg's music under Donald Runnicles fights against a disjointed production by Ole Anders Tandberg.

In a dated production by Hans Neuenfels, conductor Giacomo Sagripanti leads a musically successful Trovatore, where Angela Meade and Anita Rachvelishvili show their vocal brilliance.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Rattle conducts Janáček's glorious score with unerring skill and barely concealed adoration, but is let down by his regular collaborator's muddy vision. 

The late director Patrice Chereau's last work, Elektra, was brilliantly realized at the Met, with special credit to conductor Esa-Pekka Salonen and soprano Nina Stemme.

Elektra, as performed during the Deutsche Oper Berlin Strauss-Wochen: Such gorgeous music, we will all want to dance ourselves to death.

Michaela Kaune, Albert Pesendorfer, Eun Yee You and Elīna Garanča transported the audience to a lost time and place, even while embodying their characters’ ultimate timelessness. 

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Catherine Foster's Brünnhilde bathes Bayreuth's Siegfried in a warm glow, while Wolfgang Koch sings a superb Wanderer. But director Frank Castorf does his best to subvert both.

In this second year of Bayreuth's bicentennial Der Ring, Oleg Bryjak shines as an outstanding Alberich. Frank Castorf's production is striking but as yet incomprehensible.

Deutsche Oper Berlin’s Billy Budd, although musically satisfying, suffers through an ambiguously set production. 

Le nozze di Figaro in Götz Friedrich’s vintage production at the Deutsche Oper Berlin provides an entertaining evening. 

The Magic Flute at the Deutsche Oper Berlin is an interesting, well-sung and well-performed classic. Set in an agrarian world where Sarastro is less a high priest than he is a benevolent farmer-king, Günter Krämer’s 1991 production does not subvert the opera’s problems so much as it highlights them.

Trotz starker musikalischer Leistungen geht Claus Guths Salome-Konzept an der Deutschen Oper nicht auf.