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With a brand new production by Barrie Kosky, Komische Oper Berlin's first venture into the Sondheim repertoire mostly falls flat.

Thanks to Barrie Kosky's flamboyant imagination and a solid cast, the Komische Oper's new production of La Cage aux Folles glitters, but could be more gay.

Sailor suits and powder-puff bows as Herbert Fritsch directs a colourful new production in Berlin. 

Marking the beginning of a new artistic direction, the Komische Oper's new production of Nono's Intolleranza 1960 proves a success, with director Marco Štorman's deep rethinking of the theatre stage.

Celebrating his tenth and last season at the head of Komische Oper, Kosky treats himself to a revival of his 2017 production, which shows no signs of aging.

The Komische Oper's new, socially-distanced Offenbach staging shows plenty of glitzy defiance in its brief appearance before Germany's latest lockdown. 

Nicola Raab's production doesn't quite provide the bold rethinking it promises, but stylish execution and a fine cast make for an effective modern Traviata. 

Sophisticated interpretation of The Bassarids by Hans Werner Henze at the Komische Oper Berlin

In Robert Carsen's staging, the “dead city” is absent: the scenery showing a bourgeois room that one imagines overlooking a bright avenue in Vienna or Berlin rather than a dark alley in Bruges.

M – a city searches for a murderer, by Moritz Eggert and Barrie Kosky, receives its world premiere at the Komische Oper Berlin.

Loyalty and misdeeds in the jungle of emotions in Handel's Poro, re dell'Indie.

The new version of La bohème at the Komische Oper Berlin follows a hard Verismo-beat.

Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.

Pierangelo Valtinoni’s take on the classic story is a charming introduction to opera for children. 

The Komische Oper's new staging of Korngold's opera doesn't quite offer the necessary scale or atmosphere. 

Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.

Shostakovich's early masterpiece is fêted at the Komische Oper Berlin

Stefan Herheim packs puns and gags into a three-hour long show, but less could have been more. 

The Spanish director offers a controversial angle but tones it down to focus on dark psychology rather than spectacle in his staging of Schrecker's hothouse opera.

“Fiddler on the Roof” as a universal parable of tradition 

With a guest performance of the Komische Oper Berlin, Barrie Kosky's and Suzanne Andrade's magical production triumphs in Budapest.

Sorochyntsi Fair was last performed at Berlin's Komische Oper in 1948 by the legendary stage director Walter Felsenstein. Now Barrie Kosky, stage director and intendant, has tried his hand.

Before the beginning of each opera, an announcement is made reminding the audience not to film, photograph, tweet, post, google, snapchat... Komische Oper Berlin premieres a hilarious Barber of Seville where the singers do nothing but just that.

Kirill Serebrennikovs Auftakt zu seinem Berliner Da Ponte-Zyklus liefert interessante Ansätze, rutscht aber allzu häufig in die Klischeeschublade ab. 

Vor 25 Jahren feierte Andreas Homokis Inszenierung von Prokofjews Oper Premiere; in dieser Saison ist sie ein letztes Mal zu sehen. 

Comique et extravagance olé olé sont les mots clés de cette production réjouissante signée Barrie Kosky et incarnée par une distribution aux multiples talents...