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Barrie Kosky's makes a limited impact in his debut at Opéra de Paris, apart from an hallucinogenic Polovtsian Dances.

Tcherniakov's moving production delves into the psychological rather than revelling in the spectacular. 

Tokyo Komaki Ballet, a company intricatelly tied  to the Ballet Russes, performed three of its works, Afternoon of a Faun, Prince Igor and Petrushka. 

There’s a touch of Borodin bus syndrome around at the moment; you wait years for a production of Prince Igor, then two come along in succession. The first was from the Metropolitan Opera, directed by Dmitri Tcherniakov, swiftly followed by the Novaya Opera which brings its production from Moscow to London as part of the UK—Russia Year of Culture.

Even the best opera glasses would be no match for the intensity of this close-up introspection: a new production of Borodin's Prince Igor is playing at the Met.

Obwohl Sebastian Holecek als Titelheld beeindruckte, blieb Alexander Borodins Oper in einer eindimensionalen Inszenierung mit durchwachsener musikalischer Umsetzung insgesamt blass.