The usually thrilling stage performer is more subdued in this curiously titled album with piano and orchestral versions of Strauss’s Four Last Songs

Record viewing and listening figures, plus keyboard wizardry from Paul Lewis, Benjamin Grosvenor and Stephen Hough, kicked off another year at the Proms. Elsewhere, Strauss’s Cretan romcom laid bare

Alexander Soddy made an auspicious Royal Opera debut with his wonderful conducting of this revival of David McVicar’s staging: a tragedy of horrifying power

From Shakespeare’s dithering Dane to Desperate Housewives’ steely-eyed Bree, our critics serve up the coldest revenge dishes

Three UK premieres by Francisco Coll, Helen Grime and Joel Järventausta sat alongside two of Strauss’s symphonic poems in the latest LSO Futures concert

The soprano and conductor takes on jarring dual role as she juxtaposes Strauss’s Metamorphosen with a multimedia version of La Voix Humaine

In his first concert as the Philharmonia’s Principal Conductor, Santtu-Matias Rouvali brought a glowing string sound and irresistible elan to an all-Strauss programme

For the last of this series, we turn to one of the greatest of all composers for the human voice, a man who lived through the Third Reich and two world wars, and whose gorgeously expressive music helped create one of cinema’s most famous moments

This week, Opera Harmony’s new socially distanced mini-operas, streaming from a scaled-down Salzburg, and the Proms revisits BBCSSO’s five-star Vaughan Williams

Strauss’s fairytale epic is full of magnificent detail in the hands of Christian Thielemann, while Camilla Nylund’s Empress is supple and intense

Her voice is the calm at the centre of a storm of music by Wagner and Strauss in Davidsen’s worth-the-wait album

Annilese Miskimmon’s stripped-back Puccini update and an admirable but uneven Strauss revival opened this year’s summer festival

David McVicar revives his provocative production for a third time with more nudity, a severed head and a heroine who acts like a petulant pseudo-teen