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Come for the shave, stay for the comedy. Christopher Luscombe's new production of Rossini's beloved opera buffa avoids overcomplicating the plot, letting the work's humour and the abilities of the principals shine. 

Cut-down Mozart meets monochrome cinema. This certainly won’t be the most sumptuous Don you’ll ever see, but it is committed, imaginative and admirably compact.

The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.

Synergies between singers compensated for accurate but unexciting orchestral playing.

Foroni's forgotten gem, Margherita makes a welcome return at Wexford Festival Opera. A superlative cast, a charming production and glorious music make this a must-see event in this year's festival.

Lisette Oropesa gives a coloratura star turn; Renato Girolami and Andrey Zhilikhovsky give the buffo patter; Mariame Clément's staging focuses on the work’s dark side.

“Love, love, love… that is the soul of genius,” said Mozart. In no other work does he demonstrate this affirmation more compellingly than in his forever-beloved opera, Die Zauberflöte. 

Pour la production de ce Candide, le Capitole recevait un plateau et une équipe presque entièrement issus des milieux américains, faisant souffler dans l’enceinte du théâtre un vent de fraîcheur et de nouveauté.

It is the fusion of textures and styles coming from the pit that gives Bel Canto a memorable musical profile.

The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.