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Individual performances impress, but conducting and production both prove too meandering in this year’s Wagner Days Tannhäuser.

The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

The battle of the choirs is a thrilling moment in just about any performance of Dutchman, but produces shock and awe in the live acoustics of Budapest's Bartok Bela Concert Hall.

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.

In a state of almost child-like transfiguration and fulfilment, Strid's voice fully encompassed the extremes of the last scene.

In 2015, The Flying Dutchman is on the roster at the Wagner in Budapest festival. A fine cast and an inventive orchestra under the baton of Adam Fischer are matched with a debatable staging by Balázs Kovalik

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.

Música y escenografía se funden en un todo para presentar un embelesador El holandés errante en Les Arts.

Calixto Bieitos eigenwillige Sichtweise rundete sich mit Ulf Schirmers Dirigat zu einem Epos zwischen Melancholie und Apokalypse.

David Pountneys Meistersinger enttäuschen mit einer an Geschichtsverständnis mangelnden und trägen Inszenierung, die aber immerhin stimmliche Glanzmomente liefert.

Elisabet Strid schockiert, verzaubert und begeistert als Salome. Wahnsinn in all seinen Formen!

Im Siegfried geht der Ring als Scherzo weiter und trägt dem mit ironischen Bildern Rechnung.