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Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

Fourth time around Paul Curran’s production of Tosca at the Canadian Opera Company is workmanlike and well sung, but lacks the necessary dramatic edge to be truly memorable.

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

Looks can be deceiving in this beautifully sung revival of Thaddeus Strassberger's Oslo production of Mozart's The Marriage of Figaro.

Despite starry bel canto experts such as Joyce DiDonato, Lawrence Brownlee and maestro Michele Mariotti, a 2013 Paul Curran staging of Rossini’s La donna del lago reads vacuous on The Metropolitan Opera stage.

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

Britten’s final opera given an impressively atmospheric staging, ideally conceived for the small venue

A menacing rather than a bucolic setting for The Met's new production of La donna del lago, but the proof is in the singing... 

If you are going to see Verdi’s I due Foscari, this production is likely the way to do it. Although this production is by no means unflawed, there are several reasons that it is a must-see for opera fans in Vienna.

The message in Paul Curran's new production of Rimsky-Korsakov's The Tsar's Bride is a simple one: violent and powerful men are the same in every era. And, of course, no good can result from the violence. If the opera's title made you expect a happy and light-hearted occasion, think again: it's definitely not that sort of Royal Wedding.