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Roberto Abbado leads a strong cast in an inspired production by La Fura del Baus.

I can certainly attest that this was the closest I have ever felt to watching a 3-D thriller in Dolby Surround Sound whilst at the opera.

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.

La Fura dels Baus's production balances the familiar with modern detail in a clever staging that packs a real punch. The Arena enjoyed its centennial edition last year, and one wonders whether this might be the production that they celebrate the next time around.

My preparations for a Thursday evening trip to Lincoln Center: studying the super-formula of Stockhausen’s 29-hour opera project, entitled Licht; choosing an outfit in the perfect shade of cerulean; girding myself for a panic attack similar to the one I experienced the last time I witnessed a section from Licht (Oktophonie).

It’s no surprise that Turandot is one of the most performed and best loved operas of all time, coming in at number 15 in the Operabase league table. Its beautiful music and lavish orchestration, along with its very exciting and exotic story are what operatic dreams are made of.

Insula Orchestra und La Fura dels Baus produzieren ein experimentelles Spektakel, das Historie und Gegenwart sowie jedes Medium in Bezug setzt, die Partizipation des Publikums ganz am Ende aber konterkariert.

Anna Netrebko gibt an der Bayerischen Staatsoper ein vielschichtiges Debüt als Turandot. Der Abend bleibt dennoch durchwachsen.

Carlus Padrissas Turandot wirkt auf das Publikum irgendwo zwischen einem psychodelischen Trip und Reizüberflutung und setzt gleichzeitig neue Maßstäbe für innovative Regieopern.

Una versión atrevida de Carlus Padrissa que interpreta la obra de Saint-Saëns en clave de conflicto religioso.