LSO/Eötvös – review
Eötvös shows himself to be a highly impressive interpreter of varied repertoire in a programme of Bartók and Szymanowski, writes Tim Ashley
The Flying Dutchman; Colin Matthews study day; La bohème – review
Edward Gardner steers a perfect course as ENO's new Flying Dutchman moves from haunting dream to baffling nightmare, writes Fiona Maddocks
The Flying Dutchman – review
Kent's production is emotive and hard-hitting, while Gardner shows himself to be a natural and exciting Wagnerian, writes Tim Ashley
Der Freischütz – review
Davis wonderfully sustains the oppressive atmosphere, so that when the powers of darkness are defeated, we feel we are in a better world, writes Tim Ashley
Klaus Florian Vogt: Helden – review
Vogt's vocal ease and cleanness of line is appealing in Weber and Wagner, and he proves an elegant Mozartian, writes Tim Ashley
Parsifal; Bavarian Radio Symphony Orchestra/Jansons – review
The Mariinsky pumps up the volume in Parsifal. And it's a happy Easter in Lucerne, writes Fiona Maddocks
Parsifal – review
Conductor and orchestra were fabulous, but key singing personnel weren't on form, writes Andrew Clements
Jonathan Harvey: Wagner Dream – review
Romanticism and Buddhism combine to powerful effect in Jonathan Harvey's Wagner-inspired opera, writes Fiona Maddocks
Wagner Dream – review
The libretto has moments of triteness, and deals only cursorily with the dichotomy between Wagner's racism and his fascination with a philosophy predicated on universal compassion, writes Tim Ashley
Hours of fun with Pappano’s crowd-pleaser
Fiona Maddocks: It could have been a long night, but thanks to a fine cast and newly knighted Antonio Pappano, Royal Opera's high-wire Meistersinger flew by
Pierre-Laurent Aimard – review
Aimard held his poise at the piano to ensure nobody dared do anything so distracting as to applaud, writes Erica Jeal
Verdi and/or Wagner: Two Men, Two Worlds, Two Centuries by Peter Conrad – review
Peter Conrad's essay on the dominant musical forces of 19th-century Italy and Germany draws original, often surprising, parallels, writes Paul Levy
The Queen of Spades; Der fliegende Holländer; Dutch Classical Music Meeting 2011 – review
Despite the best efforts of a great dame, Opera North's Queen of Spades fails to lift off, writes Fiona Maddocks
Ravel: Complete Music for Violin and Piano; Lekeu: Violin Sonata – review
Alina Ibragimova and Cédric Tiberghien are today's partnership of choice for violin and piano repertory, and this disc shows why, writes Tim Ashley
Wagner: Parsifal – review
The shortcomings to Jaap van Zweden's performance are more than outweighed by its virtues, writes Andrew Clements
Rossini: William Tell – review
Gerald Finley settles into a noble account of William Tell's title role, faultlessly conducted by Pappano, writes Tim Ashley
Die Walküre; Siegfried; BBC Proms 23, 26 & 27 – review
A Cornish church and a Cotswolds cowshed proved magical settings for two first-rate Wagner productions, writes Fiona Maddocks
Siegfried – review
The clarity of director Alan Privett's concept revealed refreshing and often witty aspects of Wagner's epic enormity, writes Rian Evans
Die Walküre/The Madness of an Extraordinary Plan – review
The Madness ... is too self-consciously erudite to work as an introduction, but it was classily done and contains some dazzling scenes, writes Tim Ashley
Tristan und Isolde – review
No Tristan will ever be perfect, but this bold venture builds into something wholly exceptional, writes George Hall
Die Meistersinger von Nürnberg/ Don Giovanni; Ariodante – review
Revolution is in the air in David McVicar's post-Napoleonic updating of Wagner's Renaissance epic, writes Fiona Maddocks
Die Meistersinger von Nürnberg – review
David McVicar's production wears its politics lightly, writes Tim Ashley
Pelléas et Mélisande; Die Walküre; Wozzeck – review
Less was more in a superbly taut concert performance of Debussy's elusive opera, writes Fiona Maddocks
Humperdinck: Dornröschen – review
Humperdinck's take on Sleeping Beauty reconfigures it unconvincingly as a version of Parsifal, writes Andrew Clements
Parsifal – review
The remarkable power and conviction of Nikolaus Lehnhoff's disturbing Wagnerian world returns to London in triumph, writes Andrew Clements
Tannhäuser; Bach Cantata Pilgrimage – review
Royal Opera debutant Christian Gerhaher steals the show in the Royal Opera's Tannhäuser, says Fiona Maddocks
Wagner: Rienzi – review
Philipp Stölzl's production of Wagner's Rienzi, which opened at Berlin's Deutsche Oper earlier this year, bravely grapples with the issues the work raises by presenting it as a warning from history, writes Tim Ashley
BBCNOW/Ono – review
This concert highlighted works by Strauss, Takemitsu, Wagner and Zemlinsky and their instinct for exploiting instrumental tone, writes Rian Evans
BBCSO/Bělohlávek – review
If any British mezzo has the artistry and aura to succeed here, it is Sarah Connolly, writes Martin Kettle
LSO/Nelsons
Barbican, London Nelsons's tremendous reassertion of the symphonic greatness of Shostakovich's Fifth stood at the heart of the evening, writes Martin Kettle
Tristan und Isolde; LSO/Gergiev
Peter Sellars's long-awaited production of Tristan und Isolde is an overwhelming triumph, says Fiona Maddocks
Tristan und Isolde
Symphony Hall, BirminghamThis Bill Viola video art production has some trite imagery, but is musically first class, writes Andrew Clements
Wagner: Parsifal
Valery Gergiev answers his critics with a mesmerising Parsifal, writes Fiona Maddocks
Proms 20 and 21: Wayne Marshall; OAE/Rattle
Royal Albert Hall, LondonSunday's Proms allowed us to hear Wagner's Tristan and Isolde as we rarely hear it: as an organ improvisation and on period instruments, writes Tim Ashley
Bayreuth festival 2010
The subtleties of rat-infested Wagner are lost on Bayreuth's starry first-night audience, writes Fiona Maddocks