Performer: Sergei Leiferkus

Péter Eötvös conceived his opera Senza Sangue (Without Blood) as a complement to Bartók's Bluebeard's Castle. Dmitri Tcherniakov has now staged and designed Senza Sangue together with Bluebeard's Castle for Staatsoper Hamburg.

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

Vladimir Jurowski is a wily programmer. Pairing a concert performance of Rachmaninov's The Miserly Knight with extracts from Das Rheingold seemed a shrewd move.

The Campaign for Real Mussorgsky has been fighting the good fight for decades. Here, Vladimir Jurowski and the Orchestra of the Age of Enlightenment went one step further… performing original versions of his scores on period instruments. 

If I were to describe Janáček's late opera The Cunning Little Vixen as a bit of a one-off, I could be accused of severe understatement. It's the only opera in the mainstream repertoire to be based on a cartoon strip, it mixes animals and humans at will and it incorporates dance and mime routines, all against the backdrop of the setting of ancient forest so beloved by middle European romantics.

Mit Vorliebe für Exzentrik und Akrobatik nähert sich Barrie Kosky der wenig bekannten ukrainischen „Weihnachtsgeschichte“, abseits dunkler deutscher Märchentradition.

The Cascais Opera Competition successfully concludes its second edition – establishing itself as a springboard for emerging singers from all over the world.