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Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.  

Déception pour l'ouverture de saison à l'Opéra de Lyon : la mise en scène de Tobias Kratzer aligne les poncifs et les nombreuses coupures opérées dans la partition déséquilibrent l'ouvrage de Rossini.

Top drawer singing and comic acting bring out the comedy in Laurent Pelly's light-hearted production

Angela Meade shone in the soprano solo, beautifully backed by leader Tamas Kocsis, in the passage that segues into the stunning "Abraham thou didst promise" section.

Robert Wilson's Madama Butterfly is back in Amsterdam starring rising star Elena Stikhina as the doomed Cio-Cio-San.

En partenariat avec l’Auditorium de Lyon, l’Opéra Nouvel a réussi un coup de maître grâce à son jeune et talentueux chef Daniele Rustioni : un Nabucco en version de concert qui fait plus fort que beaucoup de mises en scène.

Aida ouvre la saison du centenaire de l'Opéra à Nancy. Une prise de rôle éblouissante par Michelle Bradley dans le rôle-titre.

At its 2015 inauguration at the Royal Opera House, a controversial rape scene in Act 3 drew outrage from the audience and critics alike. Now the Teatro Massimo is presenting the production once again.

An unlikely coupling of one-act operas by Zemlinsky and Puccini bears fruit in a staging that reveals their thematic parallels while leaving their obvious differences on show.

Una inteligente escena a cargo de Mario Gas, que recrea un rodaje hollywoodiense en la década de los años treinta, y una cuidada dirección de orquesta a cargo de Marco Armiliato han puesto en el escenario del Real una magnífica versión de Madama Butterfly, protagonizada por Ermonela Jaho la cual brilló en técnica y en actuación.

Good overall singing, but the Steinberg's conducting was completely subordinate to the stage directions.

Sadly, Damiano Michieletto and Antonio Pappano's production is more likely to be remembered for its failings – the awful rape scene, its dullness, plus a list of annoying details too long to mention – than for its musical excellence. It’s worth seeing to get a feel of both.

Kristine Opolais offers a nuanced, moving Cio-Cio-San in a solid revival of Moshe Leiser and Patrice Caurier’s sepia and cream production of Madama Butterfly at the Royal Opera.

Director Michal Znaniecki sets the action of Verdi's popular Il trovatore in an indeterminate 20th century wartime, undecidedly trying to mix up visual suggestions and primeval anguish