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Das außergewöhnlich gute Sängerensemble trägt diese aussagekräftige Opernvorstellung bei ihrer europäischen Premiere.

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

Ann Yee and Natalie Abrahami give Rusalka an ecological reading, but it's the musical side of things that really takes flight in The Royal Opera's new production.

An ideal young cast and a thoughtful production bring fresh perspectives to Puccini's tragedy.

The tears of a clown behind the public mask? Glyndebourne's first ever production of Rigoletto takes the audience to Hollywood in the silent film era. 

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Sinister aspects are stressed in Mozart's The Magic Flute at Leeds Grand Theatre directed by James Brining and conducted by Robert Howarth.

Instead of telling a story of spiritual enlightenment and ultimate redemption through faith, Pierre Audi's reading is bereft of mystery and magic.

Operalia is a curious beast among voice competitions. Step onto the stage, belt out your aria and, before you’ve barely had time to acknowledge the applause, the next contestant shuffles along the conveyor belt. A one-shot saloon.