Find classical music concert, opera, ballet and dance reviews | Christine Goerke

Stéphane Denève and the RCO gave a powerful, meticulously prepared performance of Honegger’s dramatic oratorio about Joan of Arc.

Sir Mark Elder and The Hallé orchestra are the powerhouse in a memorable performance of Siegfried. Simon O’ Neill, Iain Paterson and Christine Goerke head up a universally strong cast.

David Alden’s new production for The Royal Opera, referencing fascist Germany, is drab, but there are musical compensations. 

"She commands the stage, she commands the notes, she commands the tension": Christine Goerke's portrayal of Elektra haunts The Met. 

David Pountney's new production of Die Walküre for the Lyric Opera of Chicago incisively charts the tectonic shift of control over the future from Wotan to Brünnhilde.

A thought-provoking production and killer cast make San Francisco Opera's Elektra top-notch music drama.

A sensational Die Walküre from Sir Andrew Davis and the RSNO at the Edinburgh Festival that will be talked about for years.

An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.

At the Concertgebouw, the three soloist headed by Christine Goerke’s Brünnhilde’s lift the performance of Act III of Die Walküre conducted by Valery Gergiev to the Valhalla of music.

This production, directed by Tim Albery and with sets and costumes by Tobias Hoheisel, boasts more than one megastar.

Nobody at Carnegie Hall last night could recall a Wagner concert so gigantic, so thrilling, or so special. 

Zambello's Die Walküre engages and excites in this promising Ring cycle. 

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

Andris Nelsons, the Boston Symphony Orchestra and Christine Goerke give a breathtaking, frenzied performance of Strauss's hate-filled opera, whose score still jars today.

The Met's Turandot remains a grand spectacle, worthy of the opera itself, with a cast rightly earnsing the wild ovation it received.

Boston Symphony Orchestra Music Director Andris Nelsons experienced his first time leading the Tanglewood Music Center Orchestra – and hundreds of other performers – in Mahler’s Symphony no. 8.

"under Inkinen the New Zealand Symphony Orchestra has set a standard that is rarely surpassed even internationally"

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.

Who needs scenery anyway? A blistering Elektra from Semyon Bychkov, starring Christine Goerke, lights up the BBC Proms by sheer force of performance. 

The Glimmerglass Festival's updated Ariadne in Naxos contains comedy, character and great singing.

The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.

In the Royal Opera revival of Richard Strauss’s Elektra, the overwhelming theme is blood, both metaphorical and literal.

Between acts, and between shows, the stage at Chicago’s Civic Opera House is usually blocked from view by a solid mural painted with baroque figures in gold – perhaps the gaudiest feature of an already fussily ornate hall. The gilt-painted screen was up, however, for Elektra, the first show of the Lyric Opera’s new season (along with Verdi’s Simon Boccanegra, which runs concurrently).