Live, Video: Find classical music concert, opera, ballet and dance reviews | Matthäus Schmidlechner

Sven-Erich Bechtolf's staging of Wagner's Ring returns with Franz Welser-Möst at the helm for the final time, having recently announced his retirement of the cycle from his repertoire. 

Weill and Brecht's excoriating satire is brilliantly executed; after such an intense opener, Mahagonny-Songspiel is less convincing.

Damiano Michieletto's production does not let the viewer rest easy even when the opera has ended.

An Elektra conducted like Mendelssohnian fairy music, sung not shouted, just as Strauss required.

25 years after its creation in Bayreuth, Director Heiner Müller's legendary production of Tristan und Isolde was recreated and presented in Linz with committed performers with great success.

An astonishing performance by Asmik Grigorian is central to the Italian director's disturbing reading of a disturbing opera. 

I can certainly attest that this was the closest I have ever felt to watching a 3-D thriller in Dolby Surround Sound whilst at the opera.

Robert Wilson's new production of La traviata in Linz succeeds in communicating the emotional depth of Verdi's tragedy despite his stylized minimalism.

Rewarding performances by Matthäus Schmidlechner as Mime and Lars Cleveman in the title role, plus Elena Nebera as Brünnhilde, made Richard Wagner’s Siegfried at the Landestheater Linz a joy.

Gerd Grochowski made a stunning Wotan and Michael Bedjai a cheerful Loge in Landestheater Linz’s production of Das Rheingold.

Die Regisseurin Barbora Horáková hat reichlich Ideen und stellt das Leben an sich in den Mittelpunkt ihrer Neuinszenierung. Leider kann Die Zauberflöte musikalisch da nicht mithalten.

Die Wiener Staatsoper würdigt Puccinis hundertsten Todestag mit einer Wiederaufnahme in der traumhaft ästhetischen Inszenierung von Anthony Minghella.

Musikalisch stark und szenisch eindringlich wird Bohuslav Martinůs Oper bei den Salzburger Festspielen zu einem Erfolg auf ganzer Linie.  

La violence de la mise en scène de Lydia Steier hypnotise mais manque de profondeur ; dans le rôle-titre, Elza van den Heever brille en revanche de mille feux.