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A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Both vocally and instrumentally the performance  was a high-class one

The Metropolitan Opera's new produdtion of Rusalka fails to explore a deeper complexity of the fairy tale, although a strong ensemble of singers and the superb Met Orchestra make it a musically compelling performance.

Barrie Kosky's 2011 production confines the action of the opera to a stark white room. A fine ensemble of singers made for a successful evening.

Anthony McDonald’s Rusalka looks and sounds wonderful in a traditionally told production, with Anne Sophie Duprels returning to the role.

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.

Antonín Dvořák’s Rusalka, moving between the worlds and rooted in myth, is a shivering opera to experience with its opulent music and its fantastical plot. 

With a production in a style with which I was not at all familiar and which I found very true to the work's spirit, this Rusalka at the Czech National Theatre in Prague was a memorable evening's opera.

Ana María Martínez takes on the title role as Dvořák’s nymph Rusalka in a new Lyric Opera production by David McVicar.

Thunderous applause, numerous curtain calls; Stoyanova, Bĕlohlávek and a strong cast enjoy a fairy-tale reception in Sven-Bechtolf´s new production of Dvorak's Rusalka at the Vienna Staatsoper.

Yannick Nézet-Séguin kept the Metropolitan Opera Orchestra sounding especially lively and cohesive in this revival of Otto Schenk's enchanting production of Rusalka, starring Renée Fleming as the water nymph and Piotr Beczala as her lover.

Tonight was the Dublin première of Dvořák’s opera Rusalka, and the most surprising fact about this is that it took 112 years for this enchanting opera to make its debut here. For, as tonight’s performance so aptly illustrated, Rusalka is a glorious work on so many different levels: it has hauntingly beautiful melodies, daring orchestral harmonies and an enchanting but ultimately tragic love story.

Most of Dvořák's ten operas are rarely performed, but Rusalka, his tragic fairy tale of the water nymph who takes human form, has become popular in recent years and is a regular visitor to British opera houses. Last night's production, by directors Jossi Wieler and Sergio Morabito, started life at the 2008 Salzburg festival and has now arrived in Covent Garden.

Rusalka is a strange love story—one that ends with a man dying in the embrace of a woman (as opposed to the classic opposite). The story’s end finds no closure, but instead acts as the birth of a fearsome Czech folktale about a water nymph who is doomed to ensnare young men. And finally, the opera contains but one ‘love aria’ which appears in the final scene, and ends in tragic death.

The eponymous heroine of Dvořák’s Rusalka is a water-sprite from the woods and lakes of Middle European fairy-tale, very much the territory familiar to ballet lovers in Giselle and Swan Lake.

Pour l'entrée de l'œuvre de Dvořák au répertoire de l'Opéra National du Rhin, la metteuse en scène Nicola Raab fait une proposition virtuose où la vidéo se taille la part du lion.

Amélie Niermeyers Inszenierung von Dvořaks Werk ist ein Totalausfall; Sänger und Orchester geben zusätzlich nicht viel Anlass zur Freude.

Rusalka revient à l'Opéra de Paris dans la mise en scène de Robert Carsen, qui prône le réalisme au détriment du merveilleux. 

Klangliche Schönheit bei wenig emotionaler Aufregung in einer Inszenierung, die mehr Fragen aufwirft, als sie beantwortet.

La production légendaire de Robert Carsen revient à l'Opéra de Paris, servie par un plateau soliste inégal. 

La mise en scène de Stefan Herheim scrute l’ambiguïté de la nymphe tchèque dans une éblouissante production.

Ecouter un opéra en version de concert permet de mieux se concentrer sur la musique. Et quand il s’agit de Rusalka, le chef d’œuvre lyrique d’Antonin Dvorak, interprété par l’un des meilleurs orchestres symphoniques du monde, le Budapest Festival Orchestra, qui plus est dirigé par son talentueux fondateur et toujours directeur Iván Fischer, le bonheur ne peut être qu’au rendez-vous.