More than two centuries after its creation, the emotional pull of this supreme opera remains absolutely intact. Dmitri Tcherniakov duly revisits the myth and makes the seducer of Seville a ‘man without qualities’, a cipher whose words have a hypnotic power over women. His words will disrupt the proprieties ruling the Commandatore’s family. His words are also what makes Don Juan such a subversive figure and the embodiment of one of the most powerful modern European myths. Leading the Freiburg Baroque Orchestra is one of the best Mozart conductors, Louis Langrée. Bo Skovhus portrays a dispirited Don Giovanni, old playboy and anti-hero. Kyle Ketelsen is his servant Leporello, currently a shoe-in for this rôle. The superb female trio is composed of Marlis Petersen (Donna Anna), Kristine Opolais (Elvira) and Kerstin Avemo (Zerlina).

Richard Eyre’s elegant production, which opened the Met’s 2014–15 season, sets the action of Mozart’s timeless social comedy in a manor house in 1930s Seville. Ildar Abdrazakov leads the cast as the resourceful Figaro set on outwitting his master, the philandering Count Almaviva, played by Peter Mattei. Marlis Petersen sings Susanna, the object of the Count’s affection and Figaro’s bride-to-be, Amanda Majeski is the Countess, and Isabel Leonard gives a standout performance as the pageboy Cherubino. Music Director James Levine on the podium brings out all the humor, drama, and humanity of Mozart’s score.

With this performance of the Missa solemnis Nikolaus Harnoncourt, Honorary Guest Conductor of the Royal Concertgebouw Orchestra, once more attained the status of a living legend, due mostly to his wide-ranging expertise of music from the Baroque and Classical era. The highly acclaimed soloists are Marlis Petersen (Soprano), twice the singer of the year by the renowned Opernwelt magazine, Elisabeth Kulman (Alto), Werner Güra (Tenor), winner of the BBC Music Magazine Award for the best vocal performance, and Gerald Finley (Bass), Grammy-Awardwinner for the best opera recording. They are accompanied by the famous Netherlands Radio Choir.

Not exactly a standard work in the repertoire, Mozart´s two-act serenata from 1775 (he was 19) Il re pastore, libretto by Metastasio and previously used by several other composers, such as Gluck. A story including the usual ingredients of fidelity, love and a benevolent ruler, whose element of rigid opera seria are emphasized by director-and-conductor Thomas Hengelbrock in this stylized set-up.

After over a century out of the Met’s repertoire, audiences were thrilled to discover just what a sensational evening in the theater Thomas’s Hamlet can be. Simon Keenlyside’s riveting performance as the tortured Prince of Denmark in Patrice Caurier and Moshe Leiser’s starkly brooding production had critics raving that Keenlyside’s superb singing, coupled with his deftly delineated three-dimensional Hamlet, was one of the greatest examples of operatic drama of our time. The cast includes Marlis Petersen as the long suffering Ophélie, who brilliantly shows why her mad scene is so justly famous, along with Jennifer Larmore and James Morris as Gertrude and Claudius.

William Kentridge’s multi-layered production of Berg’s masterpiece stars charismatic soprano Marlis Petersen in the title role—the enigmatic and alluring woman who is equal parts femme fatale, innocent girl, and abused victim. The men around her, whose lives she forever alters, are Johan Reuter as newspaper publisher Dr. Schön; Daniel Brenna as his composer son, Alwa; Paul Groves as the Painter; and Franz Grundheber as Schigolch. Susan Graham sings Countess Geschwitz, and Lothar Koenigs conducts Berg’s landmark score.

At the Bayerische Staatsoper in Munich, Kirill Petrenko conducts this new production of Alban Berg's Lulu, directed for stage by Dmitri Tcherniakov and starring the soprano Marlis Petersen (Lulu).

In the Summer of 2009, the British director Nigel Lowery and the Iranian choreographer Amir Hosseinpour brought to the stage of the Berlin State Opera Unter den Linden, with colour and full of humour, the fantastic and imaginative adventures of "Racing Roland". On the occasion of the 200th anniversary of the death of Joseph Haydn, the composer's most renowned opera during his lifetime,Orlando Paladino, was performed, a heroic-comical stage piece based on Ariost's famous Versepos. Singers such as Marlis Petersen (Angelica), Tom Randle (Orlando), Alexandrina Pendatchanska (Alcina), Pietro Spagnoli (Rodomonte), Sunhae Im (Eurilla) and Victor Torres (Pasquale) performed under the musical direction of period-music specialist René Jacobs. The Freiburg Baroque Orchestra completed this high-class production giving the music a beautiful sound and lively swing.

Aribert Reimann is one of the worlds most important living composers. His works are performed regularly all over the world. Now comes his latest opera - Medea. Roughly 30 authors have written works based on this ancient myth but it was the play by Franz Grillparzer which inspired Reimann most: »In no other version is it made so brutally clear that Medea is an outsider. () Right from the start of act one my mind was flooded by musical ideas and by the end of the second act I really thought my head would burst. Vienna State Opera succeeded in recruiting Marco Arturo Marelli a man with a world-wide reputation, especially for global premieres as director and scenographer for this performance. Unusually for a world premiere, the first series of performances of the opera were a huge success amongst audiences and press alike. The public stormed the box office and ticket sales by far exceeded availability. A Sold Out notice had to be put up for virtually every performance!