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Christian Thielemann’s conducting is superb as the directors reframe the opera’s nationalism
Angela Merkel witnessed a production that is visually impressive but static, redeemed by some luminous music
Conductor Christian Thielemann exerts totalitarian control and the singers give their considerable all
The juxtaposition of the conductor with violinist Gidon Kremer was unnerving
A light-hearted and enjoyable conclusion to the season
Hartmut Haenchen’s conducting is first-class. The same is not true of Uwe Eric Laufenberg’s production
There were surprises and disappointments in this tribute to the composer, who died earlier this month
A concert that revealed much about the dynamic between Christian Thielemann and the orchestra
A round-up of the titles to remember
Katharina Wagner’s finely cast production sets the story of unattainable love in a realistic world
Ferocious philharmonic shows maturity in its failure to appoint conductor, says Shirley Apthorp
In spite of excellent performances onstage, the production is dominated by its conductor
Richard Strauss’s opera is a disappointing offering at the Festspielhaus
Neither the singers nor the conductor were at home in the world of operetta and musicals
The Berliner Philharmoniker is no pit orchestra. It has muscle and clout, clarity and personality
Dresden’s Staatskapelle gives a near-perfect rendition of Wagner’s score, only to be let down by Michael Shulz’s hotch-potch staging
Both recordings have merits for being typically Straussian in their elaborate orchestration and bluff psychology
Thielemann’s probing is confined to minor variations of tempo and phrasing while Chailly’s cycle is more involving
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