Here’s my take on the highlights of the year! Now, just to clarify, I’m only working with what I’ve actually seen and heard, so there might be other performances out there that could give these a run for their money

My Top 5 opera Performances:

1. Tannhäuser, Bayreuth (Review here)
2. Tristan og Isolde, Semperoper, Dresden (This was before Blogfløjte woke up, but you can check out a great review here)
3. Die Meistersinger, Staatsoper Unter den Linden Berlin (Review here ) 
4. Die Walküre, Staatsoper Unter den Linden Berlin (Also before the Blogfløjte days)
5. Die Tote Stadt, Bayerische Staatsoper, München (Review here)

Best Lied Recording:

Männerliebe und Leben, Günther Groissböck and Malcolm Martineau

With the title hinting at a Schumann Lied cycle, you might expect this album to be packed with just that. Well, you’d be wrong. This recording actually features Lieder both by Beethoven, Brahms, Bruckner, and Schumann.

Günther Groissböck proves that he’s not just a powerhouse on the opera stage but also a serious contender in the world of Lied repertoire! He’s undoubtedly one of the finest basses of our time—just listen to him sing Dichterliebe a full third lower than the original key, and still sound absolutely magnificent. With his unmistakable, lush tone, he’s a force to be reckoned with. And paired with Malcolm Martineau, they create a truly stunning interpretation.

Best solo recording:

Yunchan Lim: Chopin Études op. 10 and 25

Yunchan Lim’s performance of Chopin’s Études op. 10 and 25 is nothing short of extraordinary. His phrasing and touch carry the influence of the great masters, yet his interpretation feels distinctly modern. He draws attention to inner voices—some clearly present, others slightly more home made—that many pianists might overlook, offering a more appealing take on Chopin’s complex works. With a combination of virtuosity and subtlety, Lim’s performance showcases his impressive technique and a (already) mature musical sensibility.

Lim is just at the beginning of his career, and with time, he has even more potential to refine and further develop his technique, making this performance only a glimpse of what’s to come!

Best symphonic recording:

Bruckner: Symphony No. 4 (1880 Version), Pablo Heras-Castro and Anima Eterna

The opening of this massive symphony kicks off with a tremolo in the strings and a horn call, which in this recording is played by a Vienna valve horn from 1875! The orchestra, known for its focus on historical performance practices, doesn’t disappoint here. Heras-Casado clearly knows how to navigate a Bruckner score, ensuring a strong sense of momentum throughout the music. You won’t get the broad, lush sound typical of modern orchestras here—in fact, I could imagine this recording comes closer to the music Bruckner heard when he composted it.

Best director:

Tobias Kratzer

His productions are being staged more and more in various opera houses, and soon he’ll be taking over as opera director in Hamburg. Every production I’ve seen of his has impressed me! Everything is so carefully thought out, leaving me thinking about them long after the performance, with new layers of meaning revealing themselves. He’s definitely someone I’ll be following! In fact, I’ll be doing just that soon, as his new production of Die Frau ohne Schatten premieres at the end of January at Deutsche Oper Berlin. 

Most surprising performance:

Salome, Stuttgart

I’ve got a soft spot for Salome I must admit. It’s one of those operas I don’t think I’ll ever tired of. So, naturally, I made the trip to Stuttgart to see their take on the piece, and to be honest, I didn’t have the highest expectations going in. I hadn’t heard much about the not-so-huge opera house, but let me tell you, I was seriously surprised by how well the orchestra played! It quickly made its way up to my list of great opera orchestras. A house I’m hoping to find time to visit in the spring of 2025! You can read my review of Salome here .

Funniest Opera Performance:

Tannhäuser, Bayreuth 

This production of Tannhäuser by Tobias Kratzer doesn’t just present the opera; it shoves it right into the modern world, with all its chaos, humor, and absurdity. It’s a fearless take that throws convention out the window and dares to mix serious drama with moments of unexpected lightness, making the whole experience feel alive and unpredictable. From start to finish, it grabs your attention and doesn’t let go. You can read my review on the performance here.

Greatest Singers

Soprano:

Anja Kampe

Anja Kampe’s soprano voice is a force to be reckoned with. She has this remarkable ability to fuse power with delicacy, bringing both intensity and sensitivity to her roles. Whether embodying the heroic Brünnhilde or the heartbroken Isolde, Kampe commands attention with her vocal agility. Her acting brings an authenticity to her characters, drawing the audience into the story in a way that feels immediate and real.

Mezzo/alto:

Ekaterina Gubanova and Elīna Garanča

I simply couldn’t choose between Ekaterina Gubanova and Elīna Garanča, so they get to share the spot. Gubanova has a great intense, dramatic sound that really makes her characters stand out, while Garanča charms with her smooth and expressive tone, full of a melancholic grace. Two mezzos who both deliver excellent performances!

Tenor:

Jonas Kaufmann

Jonas Kaufmann’s tenor is nothing short of captivating. His voice effortlessly combines warmth and intensity, crafting a sound that is both powerful and emotionally rich. Kaufmann has an ability to make every note sound like it’s coming straight from the soul and combined with a wide vocal range and a distinctive tone, he never fails to leave a lasting impression.

Baritone:

Gerald Finley

His rich, resonant voice effortlessly combines power with sensitivity, seamlessly shifting between dramatic intensity and lyrical beauty. Whether on stage or in concert, Finley’s clear, pure tone and remarkable resonance make him a standout. His ability to deliver every note with precision, coupled with a natural, captivating stage presence, solidifies his place on this list.

Bass:

Günther Groissböck

Günther Groissböck’s bass has a commanding presence that really fills the space. His voice is full and rich, with a warmth that makes it stand out from the moment he sings. What’s particularly striking is how he blends power with smoothness, making even the lowest notes sound effortless yet full of character. It’s a voice that holds your attention from beginning to end, with every note carefully shaped to bring out its best.

Best conductor:

Christian Thielemann

Christian Thielemann brings a masterful blend of drama and elegance to every score he touches. Each note is meticulously shaped, with a clear sense of purpose and direction. His ability to balance intensity and subtlety makes each performance feel like a journey, where every moment is perfectly crafted. When he’s on the podium, you know you can simply close your eyes, and he’ll guide you through the performance with ease.

Recordings I’ve Had on Repeat:

These are the recordings I’ve listened to the most during 2024 (not necessarily released this year)

• Männerliebe und Leben – link  
• Verdi’s Requiem with Kaufmann, Harteros, Pape, Garanča og Barenboim – link 
• Thielemann’s Bruckner recordings with the Vienna Philharmonic – link 
• Matthäus Passion, Herreweghe  – link 
• Strauss, Andrea Nelsons – link 
• Mussorgsky: Khovanchina, Abbado – link 

Here’s to a new year filled with more notes, more drama, and plenty of opera adventures — see you in 2025!