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The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

Wotan's predicaments provide Sydney's victory: Chief Conductor Simone Young has her musicians on some of their best form in recent years, with only a few question marks over an excellent concert performance.

Who wouldn't relish the chance of seeing a Ring cycle at close quarters? Longborough's Die Walküre isn't perfect, but it consistently delivers on the story and on character interpretation.

The second installment in The Atlanta Opera's first-ever Ring Cycle benefits from the committed performances of veteran Wagnerians like Christine Goerke and Greer Grimsley.

The second part of Opera Australia's Ring Cycle sees digital effects employed with greater restraint, delivering a production that is by turns moving and thrilling. 

The pure magic of Ádám Fischer and the Hungarian Radio Symphony Orchestra delights with two brilliant leads, but others disappoint on the second day of Müpa's Ring.

Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

Melbourne Opera's Walküre outdoes expectations, with really splendid singing and all-round performances, led by Lee Abrahmsen's Sieglinde. 

A stellar production of Die Walküre premieres in Zurich, not far from the location where Richard Wagner composed it. 

The plot thickens as "episode two" of Bayreuth's new Ring muddies the waters of Siegfried’s paternity and Wotan comes to regret his actions.

Breastplates are back in vogue, but comedy horses and cheap production values undermine the first chapter in English National Opera's new Ring cycle. 

Latvia's prodigal son returns to the golden hall of the Latvian National Opera House for two superb evenings with the Bayreuth Festival Orchestra.

Wagnerites can get their fix in London this week, where Die Walküre opens the Grimeborn Festival in Julia Burbach's new production of the adaptation by Graham Vick and Jonathan Dove. 

Three performances in five days take their toll in a tight schedule of this concert production run in the Cotswolds. 

Dutch National Opera revives Pierre Audi's acclaimed Die Walküre for the very last time.

The Staatsoper Berlin celebrate the arrival of Michael Volle, a splendid Wotan, aided by a strong ensemble of singers and Daniel Barenboim's leadership.

Andris Nelsons finishes his 2019 Tanglewood residency on a high note.

Six excellent singers bring out the best in Wagner's dramatic narrative, marred only by a Ride of the Valkyries that fails to convince.

The chance to watch their finely gauged interpretation unfold on the Royal Festival Hall platform was a privilege.

We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.

San Francisco Opera's Die Walküre overcame a disappointing first act, winning the audience over with excellent singing and playing and impressive stage effects.

Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of  Die Walküre. 

David Pountney's new production of Die Walküre for the Lyric Opera of Chicago incisively charts the tectonic shift of control over the future from Wotan to Brünnhilde.

A sensational Die Walküre from Sir Andrew Davis and the RSNO at the Edinburgh Festival that will be talked about for years.

Trophy room glass display cases and glassy-eyed stuffed animals are the setting for a distinctive take on Wagner's epic music drama. 

Die Walküre in Leipzig turns the family drama into a tragedy of fear and anxiety, with glimpse of hope at the end.

Stemme as Brünnhilde delivered her opening battle cry in Victorian riding habit like one of Trollope's racier fox- hunting heroines.

Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.

On a night of technical delays and extraordinary singing, Opera Australia's revival of Die Walküre is particularly memorable for Amber Wagner's Sieglinde and Lise Lindstrom's Brünnhilde.

Singing, orchestral playing and scenic portrayal all combine to make a highly memorable second instalment of Wagner's Ring.

Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.

Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.

In Anna Russell's wittily deadpan analysis of Wagner's Ring cycle, she describes Wotan as “the head god” – pausing for dramatic effect before adding “and he's a crashing bore too.”

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

Zambello's Die Walküre engages and excites in this promising Ring cycle. 

Solid singing proves to be the main attraction of an ineffective new staging of Die Walküre at the Hungarian State Opera.

Frank Castorf's Soviet-era farm-setting does not obtrude on the emotional core of Wagner's Die Walküre, with excellent performances from Johan Botha, Anja Kampe and Claudia Mahnke, with superlative playing from the Festival Orchestra.

The second opera of the Ring Cycle in Vienna brought the best out of the orchestra and singers with a sweeping and breath taking reading of the score by Sir Simon Rattle.

Some beautiful singing from Michael Bedjai as Siegmund and Brit-Tone Müller as Sieglinde set a high standard in this Landestheater Linz production of Richard Wagner’s Die Walküre.

All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.

A perfect cast and great conducting make the Bayerische Staatsoper's Die Walküre thrilling and memorable.

Kirill Petrenko starts Die Walküre with a flourish as Frank Castorf’s staging takes us back to the Baku oilfields in late tsarist Russia.

The second instalment of the Erl Ring Cycle brings an even more lively staging, but with a somewhat mixed vocal performance.

An impressive Die Walküre with a trio of first act singers that would be hard to better. Throughout, clarity of diction is allied to clarity of the orchestral reading. 

Putting on a Ring cycle is normally considered a major undertaking for any opera company. For a mid-sized provincial opera company, the idea of staging the whole cycle in a weekend seems barely short of insane. But that’s what Opéra de Dijon are doing – Das Rheingold and Die Walküre last night, Siegfried and Götterdämmerung tonight, and it just had to be seen.

After Sunday night’s breathtaking Das Rheingold, it was difficult to imagine Die Walküre could be more beautiful or committed. Seattle Opera outdid themselves with this second installment of the Ring cycle, which featured energetic playing and singing, gorgeous stage pictures, and devastatingly believable acting from all of the singers.

Dipping my toes into the murky waters of the Wagner-fest at the Proms this year for the first time, I found myself confronted with the monumental second installment of the Ring cycle, Die Walküre.

In last night’s performance of Die Walküre at the Met, Martina Serafin as Sieglinde and Simon O’Neill as Siegmund drew us completely into the process of two people falling into illicit love.