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Barrie Kosky's new production of Philip Glass' Akhnaten for Komische Oper at the Schillertheater removes any egyptological references. 

With a brand new production by Barrie Kosky, Komische Oper Berlin's first venture into the Sondheim repertoire mostly falls flat.

It takes two to tango... but what about vaudeville? A rerun of Barrie Kosky's production of Oscar Straus' Eine Frau, die weiß, was sie will owes most of its charm to the two leads.

Handel's seldom-performed Hercules becomes the latest oratorio to undergo the Kosky treatment at Komische Oper. 

The last of Jacques Offenbach's great buffo operettas provides an opportunity for topical satire but Max Hopp’s attempts at updating it fall short of the mark.

Internationally acclaimed film director Wim Wenders and Daniel Barenboim give their debut with a rarely played opera by Georges Bizet.

Eva-Maria Westbroek proves an outstanding Káťa in the Staatsoper's revival of Janáček's opera, powerfully conducted by Simon Rattle. 

There's no faulting the execution, but the former Python's take on Berlioz's dramatic legend is worryingly inconsistent in tone. 

A gripping performance of one of opera’s masterpieces in Berlin. 

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

Magisterial playing and conducting underpin an outstanding, engrossing evening of Wagner at the Schiller Theater.

Under the baton of René Jacobs, the Akademie für Alte Musik Berlin dazzles in the Staatsoper's production of Purcell's "dramatick opera". 

With a light-voiced cast and gentle updating, the Staatsoper's new Manon Lescaut makes a good case for Puccini's difficult breakthrough opera.

Evelyn Herlitzius and Adrianne Pieczonka are unsinkable in the the French director's final production, conducted with impressive symphonic sweep by Daniel Barenboim. 

Not even the musical genius of Daniel Barenboim could turn Harry Kupfer’s irritating Sitzprobe production into a “Namenlose Freude”.

Staatsoper Berlin's Götterdämmerung featured memorable vocal performances from Iréne Theorin and Andreas Schager, with Daniel Barenboim and his orchestra providing the rest of the drama.

A strong performance at Staatsoper Berlin of the third opera of the Ring, Siegfried, was a showcase for tenor Andreas Schager in the title role.

The second evening of Staatsoper Berlin's Ring featured an exceptionally strong musical performance, both from the orchestra and the singers. 

The revival of Das Rheingold at Staatsoper Berlin was still marred by distracting use of dancers on stage, but musically it was a great success. 

An outstanding premiere of Bohuslav Martinů's Juliette at the Schiller Theater in Berlin has a delighted public jumping to their feet with applause.

Furlanetto and Domingo give their all in leading a starry cast, but the stage direction fails to ignite.

Amor vien dal destino, by the celebrated multi-talented Italian Agostino Steffani, receives its first staging in 300 years in Berlin's Schiller Theater under the direction of René Jacobs.

In the relaxed time between Christmas and the New Year celebrations the Staatsballet Berlin brilliantly performs a the Duato | Kylián programme.

Staatsoper Berlin revives its new production of Tosca with an excellent cast including a last minute substitution of the tenor.

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.

A neatly danced Onegin in Berlin, but one that lacked an emotional core. 

Director Michael Thalheimer staging Weber’s Der Freischütz entirely in the Wolf’s Glen, albeit relocated from a “fearsome forest gorge” to what looks like a badger’s sett. 

This revival of Peter Mussbach's production of Macbeth is devoid of props and places the focus squarely on singers and orchestra. This challenge was splendidly met by Plácido Domingo, making a role debut as Macbeth, and Liudmyla Monastyrska.

Claus Guth gives the Staatsoper Berlin a Turn of the Screw unlike any other.

Sasha Waltz's innovative and singular choreography bears on Stravinsky's Rite of Spring and Debussy's L'après midi d'un faune. A provocative, engaging evening at the Staatsoper in Berlin.

Tristan und Isolde is notoriously difficult to bring off in the theatre, but under Daniel Barenboim's direction, Waltraud Meier, Peter Seiffert and an outstanding cast give a profoundly moving performance of Harry Kupfer's production at the Berlin Staatsoper.

Alvis Hermanis' new Tosca for the Berliner Staatsoper mixes innovation with tradition in an interesting, but ultimately ineffective, way. 

Berlin's Candide is a tour-de-force of dramatic, comic and musical brilliance.

A dark and minimalist take on Verdi's beloved La Traviata misses the point at the Staatsoper im Schiller Theater in Berlin. Only the Staatskapelle Berlin orchestra and Alfredo Daza (Germont) emerge with credit.

Handel's Il trionfo del Tempo e del Disinganno at the Berliner Staatsoper with Les Musiciens du  Louvre Grenoble.

It’s not often that operas in English get performed in Germany, and so I was somewhat surprised to see such a large and important company as the Berliner Staatsoper taking on Stravinsky’s The Rake’s Progress.

Kein Mozart für Puristen: Serebrennikov schafft ein dicht erzähltes Sozialdrama über unermesslichen Wohlstand, die Schattenseiten der hochstilisierten Glamourwelt und all jene, auf deren geschundenen Rücken dieser Reichtum verdient ist.

L’équipe du Komische Oper redonne des ailes aux beaux oiseaux de La Cage aux folles, dans la mise en scène de Barrie Kosky : un condensé d’humour, de bonne humeur et de contemporanéité.

Barrie Kosky macht Rimsky-Korsakows letzte Oper zu einer Persiflage auf den mittelalten Mann in der Midlife Crisis.

Warum Rimsky-Korsakows Oper nicht längst zum Kernrepertoire gehört, fragt man sich bei dieser glanzvolle Wiederaufnahme.

Berlins dritte Traviata wartet trotz Besetzungsänderung mit meisterlicher Klangkunst auf.

Simone Young machte diese Faust-Vorstellung zu einem musikalisch ergreifenden Erlebnis.

Jürgen Flimms Produktion unterstreicht die frech-fröhlich-Mozartschen Züge der Figuren der spielfreudigen Besetzung.