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The young Handel's homage to Counter Reformation Rome, La resurrezione, is effectively brought to life by Opera Atelier with glittering sets and fine, stylish singing.

Tomer Zvulun's mostly traditional account of the Tchaikovsky masterpiece arrives at Seattle Opera in an attractively staged but underwhelming package.

Opera Atelier presents a double bill at the Royal Opera in Versailles filled with Baroque dancing, scenery and music.

Christopher Alden's risk-taking, Expressionist-tinged production of the early Wagner breakthrough is provocative in all the right ways.

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

Opera Atelier espouses truth in advertising: The Magic Flute, they tell us, is a Singspiel in two acts. You can call it a play with songs, a musical comedy, even an operetta, but hardly an opera in the traditional sense. Call it what you will, this is Opera Atelier’s fourth production of the work in the last 22 years.