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The Toronto revival of Michael Grandage’s straightforward but elegant production shields Puccini’s genius from contemporary critiques. 

Michael Grandage's vivid production of Mozart's comic masterpiece is fast becoming a classic and is revived here to a very high standard.

The Met's spectators love Mozart’s opera, but they deserve an updated staging.

Don Giovanni is an opera which has as its title character a man who is an unrepentant womaniser, who ultimately receives his just reward in one of the most famous scenes in opera where he is consumed into the fires of hell.

Simon Keenlyside returned to the Met after absence and led a delightful cast of Don Giovanni at the Met.

1960s kitsch set in old Seville, excellent acting and movement direction combines with strong singing and immaculate playing from the OAE to make Glyndeboune's Le nozze di Figaro a triumph.

This production proves that even Mozart’s best-laid plans can be undone.

This BAM production of Benjamin Britten’s Billy Budd, imported from Glyndebourne, achieves the rare distinction of making a great performance out of a decidedly mediocre work.

You can view Britten’s Billy Budd as an opera about the failure of words. When the angelic sailor Billy is falsely accused by his superior office Claggart, his stammer prevents him from defending himself and he lashes out, fatally.

Don Giovanni is perhaps the most difficult of the Mozart–Da Ponte opera trilogy to stage. Not only is there the problem of how exactly the Don is to be consumed in flames at the end of its three-hour span, or the issue of how to make the statue of the Commendatore come to life.

Read our review of Michael Grandage's production of Don Giovanni by Mozart, in its 2011 broadcast from the Met Opera in New York.