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Iván Fischer's reworking of his 2017 production of Don Giovanni is musically capable, but dramatically unconvincing.

The evening starts with life-affirming Beethoven – and then, the Budapest Festival Orchestra demonstrate just how good native Hungarians can be in Bartók’s chiller. 

Hungarian State Opera's cut-down, dramatically inert Gioconda fails to ignite the stage in Budapest, despite a solid musical foundation. 

Peter Eötvös' 13th opera – the first in his native Hungarian – premieres at the Eiffel Art Studios in Budapest. 

Calixto Bieito takes on Prokofiev's Tolstoy epic – and wins in the opera's Hungarian premiere. 

Monteverdi’s last opera, recomposed by Máté Bella for a modern orchestra and a jazz combo, is an over-the-top, glitzy romp with plenty of casual sex and even more casual violence.

In a program devoted to Béla Bartók, the visitors from Hungary conveyed both a distinct uniqueness of their heritage as well as a possibility of music as a tool for communication and understanding.

The acting was patchy and the singing ranged from serviceable to laudable in this dazzling new production at the Budapest Spring Festival.

In a sensational Hungarian double bill of taut psychological drama at Müpa, Péter Eötvös' Senza sangue proves a thrilling partner to Bartok’s Bluebeard’s Castle.

Show-stealing bass singing from Krisztián Cser and an immensely powerful Act 2 make a persuasive case for Verdi's neglected predecessor to Rigoletto.

Iván Fischer and the Budapest Festival Orchestra gave a lesson in ethnomusicology as part of the their all-Bartók programme, which culminated in a towering performance of Bluebeard's Castle.

With a convoluted production and uneven cast, Tamás Pál in the pit and Klára Kolonits as Erzsébet Szilágyi prove to be the highlights of the performance of this Erkel classic.

The Hungarian State Opera offered up a belated Hungarian première by one of its native sons, Péter Eötvös – his 2007 opera Love and Other Demons.

Hungarian State Opera mount a successful première of Thomas Adès's take on Shakespeare, with the show stolen by Laure Meloy's Ariel.

Iván Fischer's staged concert had its flaws, but some original ideas and a strong cast gave an impressive performance.

A neglected work in Hungary, Idomeneo receives an intense performance under the baton of György Vashegyi.

Known for her powerful interpretations of the blockbuster Italian mezzo roles, the great Hungarian diva Ildikó Komlósi dominates the new production of Aida in Budapest.

Any director taking on Weber’s Der Freischütz faces big challenges. Sándor Zsóter’s production for the Hungarian State Opera takes risks, with very mixed results.

El compositor Peter Eötvös se pone al frente de la Orquestra Sinfónica do Porto Casa da Música para dirigir su ópera Senza sangue muy bien complementada con El castillo de Barbazul.

Trois jours de festivités musicales autour de Budapest ont révélé, pour sa première venue à la Philharmonie de Paris, le jeune chef Gábor Káli, dans un programme entièrement bartókien. À l'honneur ce dimanche : Le Château de Barbe-Bleue.

Das Budapest Festival Orchestra bringt mit einem Bartók-Programm ungarische Klangfarben in die Elbphilharmonie.

Retour sur la performance mémorable du Château de Barbe-Bleue à l'occasion du Budapest Festival, une formule désormais annuelle qui offre durant quelques jours au Budapest Festival Orchestra le monopole du Concertgebouw de Bruges.