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In an opera rarely staged in Italy, David Hermann skilfully masters the metatheatrical challenges posed by the libretto to Ariadne auf Naxos. 

The Italian premiere of Lucia Ronchetti’s Inferno at the Teatro dell’Opera di Roma uses Dante’s original verses, but her score fails to match their beauty. 

Originally staged at the Caracalla Baths in 2014, Davide Livermore’s production comes in from the cold. 

Damiano Michieletto is entrusted with the first staging of Lohengrin in Rome for 50 years, but his distracting staging is redeemed by the musical side of things. 

This co-production, previously seen in San Francisco, is more of a semi-staging, convinces thanks to committed performances from a cast led by Fleur Barron.  

Despite an early misadventure, Teatro dell'Opera di Roma launches Maurizio Scaparro's staging of Rossini's comic opera with panache. 

An unusual double bill pairing of Puccini’s Suor Angelica and Dallapiccola’s Il prigioniero opens at the Teatro dell'Opera di Roma. 

Illusion – theatrical illusion – is the theme of Pierre Audi's staging of Alcina, Handel’s beloved opera which finally makes its debut in Rome. 

Valentina Carrasco's contemporary staging, with impressive sets and singing, makes for a remarkable show at the Teatro dell'Opera. 

A historical staging with well sung arias doesn't really bring Puccini's opera alive as Rome marks its 125th anniversary. 

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

For the first time in Italy the opera that brings together the spiritual music of the Estonian composer and the minimalist direction of Robert Wilson.

A new, musically convincing production of Bellini's last opera marks a welcome return to the Teatro dell'Opera di Roma, but Andrea De Rosa's staging lacks inspiration.

The controversial artist stages his first opera in Rome, with strong musical performances under dynamic Ukrainian conductor Oksana Lyniv. 

Richard Jones' setting is superb in its bare minimalism, but he pays great attention to all the psychological nuances in Janáček's opera. 

The Teatro dell'Opera opens its season with the world premiere of Giorgio Battistelli and Ian Burton's new Shakespearean work, under the baton of Daniele Gatti and the direction of Robert Carsen.

After a fifty-year absence from Roman stages, Verdi's opera about the Maid of Orléans makes an appearance at Teatro dell'Opera under the conduction of Daniele Gatti.

Living in an environment influenced by French culture, Verdi saw the chance of breathing new life into the Italian opera through the grand-opéra. Les Vêpres siciliennes is his successful attempt.

In Emma Dante's staging we are viewing an allegory of death as painted in the medieval frescoes of Italian cemeteries.

Robert Carsen's minimalist modern reading of Gluck's masterpiece is a pure distillation of opera (and life) and the Teatro dell'Opera di Roma.

Graham Vick stages his Marriage of Figaro in todays vulgarity, but he is not fully convincing.

Alessandro Talevi's gorgeous staging recreates Tosca as it might have been seen at its 1900 première. 

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

The Mediterranean setting of Auber's work is recreated by director Giorgio Barberio Corsetti with its intriguing teatro-immagine, where video projections and virtual reality are predominant.

Carmen de Bizet revient à Rome dans le magnifique parc des thermes de Caracalla.

Lord Sidney's contemplation of the insanity of the world seems to be the impetus for this delirious production. So endless is its stream of gags that to attend this show is to be left feeling exhausted.

Difficile exercice que celui du drame lyrique pour deux Prima Donna qu’est Maria Stuarda. Il ne fallait pas moins que le talentueux duo constituait de la soprano lettone Marina Rebeka et de sa sœur de scène l’italienne Carmela Remigio pour donner ses lettres de noblesses à ce modèle de bel canto qui n’avait pas été donné sur les planches de l’Opéra de Rome depuis 2006.

Pour la première de la saison lyrique romaine, Daniele Gatti amenait l’Orchestra e Coro del Teatro dell’Opera di Roma dans un Richard Wagner épuré.

The visual results are stunning, though an uneven cast made this a performance with clear weaknesses as well as strengths. Aquiles Machado's Cavaradossi, on the other hand, was an indubitable revelation.

Thoughtful character placement and a keen eye for detail contribute to a Carmen in Rome which is short on passion, but lovingly played.