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An der Bayerischen Staatsoper brilliert ein hochkarätiges Mozart-Ensemble in einem so enttäuschenden, wie trostlosem Regiekonzept.

Evgeny Titovs Inszenierung und Stefano Montanaris energiegeladenes Dirigat machen große Lust, sich in Mozarts oft gespielte Oper wieder zu vertiefen.

Anneliese Miskimmon's ENO production of Jake Heggie and Terence McNally's tale of crime, repentance, compassion and redemption compels from start to finish.

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

Evgeny Titov's new production is heavy on the jokes and light in substance, but delights anyway thanks to its high-class cast. 

In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 

The Royal Opera presents another Handel rarity for its Jette Parker Artists in the Linbury Theatre, the but action thriller approach is ill-suited to the ancient tale. 

Oliver Mears' new production of Britten's chamber opera is a visceral reflection on tyranny and sexual violence.

Dvořák’s final opera gets a rare staging outside its Czech homeland, at Wexford – the festival where dead operas return to life.

Orpha Phelan has fun staging Félicien David’s opéra comique, moving the action from Kashmir and Samarkand to Leila O’Rourke’s Tea Emporium.

Wexford Festival thrives on resurrecting long-forgotten operas, so is the perfect place for Halévy's take on Shakespeare, neglected for 170 years.

A journey through the subconscious of the main protagonist Edmea, with Anne-Sophie Duprels as the eponymous heroine.

L'Opéra de Montpellier ouvre sa saison 2019-2020 avec une excellente production de Madama Butterfly, où la qualité de l'orchestre joue un rôle primordial.

Despite the excellent playing of the Britten Sinfonia, Anna Morrissey’s flawed production disappoints.