Götterdämmerung – review
In presenting the narrative in clear dramatic images that are entirely consistent on their own terms, the performance had a consistency missing earlier in the cycle, writes Andrew Clements
Die Walküre – review
Despite some stellar performances, this second opera in the Ring cycle fails to cohere, nor do Pietari Inkinen's slow tempi and calculated detachment help
Wagner: Die Walküre – review
No orchestral details in Walküre escape Marek Janowski, or this wonderfully vivid recording, but he fails to reach the highest dramatic peaks, writes Andrew Clements
Julian Joseph’s Windows into Tristan and Isolde – review
The jazz pianist's take on Wagner's psychodrama may be a work in progress – but it's a fascinating one, writes John Lewis
Wagner: Das Rheingold – review
The Mariinsky Orchestra under Valery Gergiev are on blazing form in this live recording of Das Rheingold, writes Fiona Maddocks
Prom 57: Parsifal – review
This Proms performance is a fine example of the Wagner tradition assiduously nurtured by the Hallé in Manchester, writes Tim Ashley
Wagner: Lohengrin – review
Karl Böhm's 1965 broadcast from the Vienna Staatsoper is real edge-of-your-seat stuff, writes Tim Ashley
Prom 19: Tristan und Isolde – review
The Proms approximated history by breaking from its Ring cycle to present a surprising and impressive Tristan und Isolde, writes Tim Ashley
Prom 18: Siegfried – review
The third segment of the Proms' Ring cycle kept up the exceptional standards, writes George Hall
Das Rheingold/Die Walküre – review
Gold turns to oil in a much-anticipated but very mixed Ring cycle that has too many distractions, writes Martin Kettle
Proms 14 & 15: Das Rheingold/Die Walküre – review
Daniel Barenboim, the Staatskapelle Berlin and a godly line-up of soloists made for one of the great Proms events of the decade, writes Fiona Maddocks
Prom 15: Die Walküre – review
The cast was very close to being as good as any could be assembled from singers today, while surely there's no other ensemble in the world that has this music more deeply ingrained in its collective psyche than the Berlin Staatskapelle, writes Andrew Clements
Prom 14: Das Rheingold – review
On magisterial form, Barenboim allowed the score to unfold as a single organic span, seamless in its progress and perfectly proportioned, writes Tim Ashley
Wagner in Switzerland – review
Flying Dutchman and Ring but no Tristan und Isolde in this bicentenary disc covering Wagner's Zürich era, writes Tim Ashley
Der Ring des Nibelungen – review
Proof that Wagner, like most opera, does not have to be gargantuan to succeed, writes Martin Kettle