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A vibrant new production of Scott Joplin’s Treemonisha at Washington National Opera underscores the opera’s enduring message of education, community and social justice.

An attractive supporting cast isn't sufficient to bring this revival of David Alden's Ballo in maschera to life in New York. 

The program paired works of two living female composers with a suite of selections from Porgy and Bess, featuring star soprano Angel Blue.

Bartlett Sher's production of Gounod's Romeo et Juliette returns to the Met. 

Whenever a relative opera novice or occasional toe-dipper tells me how he or she cried at the end of La bohème, I want to send them to La fanciulla del West. Of course I choke up at the end of Bohème – who doesn't? – but for a good bawling session, the fabulously maudlin finale of Fanciulla is the place to be. The plot doesn't bode well.

La célèbre mais parfois controversée œuvre de Georges Gershwin, composée en 1935, s’arrêtait pour une semaine de représentation à Odyssud avec l’orchestre, les solistes et le chœur du New York Harlem Theater. 

How does Usher House stand up? Like the house, it doesn’t. Welsh National Opera's double bill based on The Fall of the House of Usher underwhelms.

Rudolf Frey's production of Nabucco for Welsh National Opera undercuts the solemnity and beauty of the opera, detracting from some fine performances.