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Soloists Klaus Florian Vogt, Christian Gerhaher, Amber Wagner and Marina Prudenskaya star in Act 3 of Tannhäuser.

The plot thickens as "episode two" of Bayreuth's new Ring muddies the waters of Siegfried’s paternity and Wotan comes to regret his actions.

Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

A new production of Lohengrin at Oper Leipzig is conceived as an intimate chamber opera and succeeds with brilliant musical performances.

A cast comprised of the world’s leading Wagnerians, under the baton of Sir Antonio Pappano, deserve better than Otto Schenk’s outdated and cartoonish production. 

Latvia's prodigal son returns to the golden hall of the Latvian National Opera House for two superb evenings with the Bayreuth Festival Orchestra.

The performance of Wagner’s Lohengrin transcends Andreas Homoki's curious staging, redeemed by vocal and orchestral performances that shine in their nuanced artistry.

The Bavarian State Opera avoids the routine in a powerfully cast revival of Richard Jones' building-site production of Lohengrin.

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Kosky’s production manages to maintain all hallmarks of a 16th-century fairy tale, while juxtaposing them with questions of deep human, political and artistic problems. Regietheater at its best.

The wealth of visual images displayed by director Graham Vick goes with the extraordinary richness of Korngold's music.

There's little to like in Andrea Moses' production, but a fine cast and glorious playing and conducting make for an enthralling performance of Wagner's grand comedy.  

Leading five choirs, fine soloists and a glowing Netherlands Philharmonic, conductor Marc Albrecht emphasised the human struggle in a highly dramatic performance of Mahler’s mammoth eighth symphony.

Hamburg's revival of a 2015 production is a musical success, but the director's concepts are sometimes too dense to tell a straightforward story.

Michael Volle and Klaus Florian Vogt demonstrate that they are indeed master singers in Munich, despite adversity, in a revival of David Bösch's contemporary production.

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

The Met’s production of Wagner’s Parsifal is a harrowing affair, entrancing in its refusal to charm. 

Celebrating a courageous woman who is able to secure the release of her husband from prison, Beethoven’s sole opera Fidelio has music that is more compelling that its plot.

The label “most opera directors” does *not* apply to Barrie Kosky, who makes his Bayreuth debut with a Meistersinger that pulls no punches.

The Met revived Beethoven's only opera Fidelio with a strong cast and excellent chorus and orchestra, with a production that celebrates liberty and love.

Die tote Stadt at the Vienna State Opera features strong playing and singing but little drama.

Deutsche Oper Berlin's revival of Parsifal features a brilliant musical performances to override the production's focus on the dark side of religion.

Revival of a 2014 production of Rusalka in Vienna was a great success musically with a splendid cast headed by last minute replacement Camillal Nylund.

Klaus Florian Vogt’s Florestan redeems an otherwise disappointing Fidelio in Otto Schenk's timeless production.

Sir Mark Elder led the Royal Concertgebouw Orchestra and an inspired team of soloists headed by Klaus Florian Vogt into a highly-charged performance of Lohengrin.

Both Mahler and Schoenberg found musical inspiration through poetry, and the fruit of their efforts yielded two of the most fascinating pieces of music in the canon.

Staatsoper Berlin opens its season with a strong new production of Die Meistersinger von Nürnberg that pays homage to the past and at the same time points to the future.

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.

Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.

Although technical problems threatened to undermine this production, Anja Harteros' Elsa and Klaus Florian Vogt's Lohengrin transcended all.

A perfect cast and great conducting make the Bayerische Staatsoper's Die Walküre thrilling and memorable.

Fidelio waves goodbye to Barenboim at La Scala, and a fine production marks the occasion with a firework display. 

German tenor Klaus Florian Vogt gave a delightful recital of Wagner, Mozart and operatta, aided by excellent playing by Staatskapelle Weimer.

In a new production of Wagner's Lohengrin, conductor Simone Young and stage director Andreas Homoki, along with an extraordinary cast, engineered a superb performance.

Klaus Florian Vogt's astounding portrayal of the swan knight continues to evolve and deepen in the once infamous "Rat" Lohengrin in Bayreuth in a evening of sheer brilliance and near perfection.

Ariadne auf Naxos is the ideal Viennese opera: an entertainment by Richard Strauss and Hugo von Hofmannsthal that satirises the relationship between composer and patron.

Nobody puts Wagner in a corner: the Staatsoper’s new Lohengrin has some excellent qualities, but ultimately just needs more space. 

Christian Spuck's new La damnation de Faust for the Deutsche Oper Berlin is creepy and elegant. Its impact will stay with you long after the opera is finished.

Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.

The opening concert of the Wiener Konzerthaus in 1913 featured a performance of Beethoven’s Ninth Symphony with a celebratory prelude written by Richard Strauss. To mark its 100 year birthday, this Sunday morning the Vienna Philharmonic, led by the eminently engaging Gustavo Dudamel, performed Beethoven’s Ninth as well, but this time with a “Prolog” written by living composer Aribert Reimann.

The orchestra of the Deutsche Oper Berlin and its conductor-in-chief, Donald Runnicles, made an appearance above stage level this week, performing a program of concert pieces at Musikfest Berlin a week before the opera season takes off.

In recent years the German tenor Klaus Florian Vogt has gained fame for his lyrical portrayals of Wagnerian characters like Lohengrin, Parsifal, and Walther von Stolzing in Die Meisteresinger von Nürnberg.

Twice in a week we have enjoyed ideal concert experiences in which all the elements came together; Mozart at Wigmore Hall and this at Cadogan Hall.

Christian Thielamnn und Klaus Florian Vogt als Lohengrin sind einmal mehr eine Klasse für sich.

Dernier opus de la Tétralogie, le Crépuscule des dieux s'avère plutôt convaincant scéniquement. Vocalement, les chanteurs rendent justice à la musique de Wagner, malgré des signes de fatigue.

La mise en scène du troisième volet de la Tétralogie déçoit cette fois-ci franchement, malgré de splendides décors. Musicalement cependant, il est difficile de rêver mieux !

Die Neuproduktion entstand zwar bereits vor fünf Jahren, aber die diesjährige Wiederaufnahme des Tannhäusers in Bayreuth bietet auf der musikalischen Ebene einige Überraschungen.

Christian Thielemann leitet mit seiner letzten Wagner-Oper seinen Abschied als Chefdirigent der Staatskapelle Dresden ein.