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Frederick Delius' gigantic score is worth a listen but Christopher Luscombe doesn’t circumvent the problems of directing this opera in 2025. 

A rare opportunity to see Handel’s final operatic work, Deidamia, conducted – and staged – by George Petrou at Wexford Festival Opera. 

The 74th Wexford Opera Festival opens with the French revision of Il trovatore that Verdi reforged for the Paris Opera. 

Superlative singing, hilarious antics and an energetic production make Donizetti's Le Convenience ed inconvenience an exhilarating success. 

Conor Hanratty's humorous production is a triumph from beginning to end, a must see at this year's Wexford Festival. 

Excellent singing, an amusing production and lively staging showcases Mascagni's Le maschere in the best possible light at Wexford Festival Opera. 

Erlanger's fractured and clichéd opera isn't helped by confused direction, although soprano Andreea Soare is nothing short of magnificent as the heroine. 

A terrific cast of principal singers lead by soprano Claudia Boyle, coupled with compelling direction from Bruno Ravella make for an exhilarating operatic experience in Donizetti's Zoraida de Granata. 

Artistic Director Rosetta Cucchi makes a compelling case for Marco Tutino's impassioned opera on the horrors of war from a woman's perspective. 

Dvořák’s final opera gets a rare staging outside its Czech homeland, at Wexford – the festival where dead operas return to life.

Orpha Phelan has fun staging Félicien David’s opéra comique, moving the action from Kashmir and Samarkand to Leila O’Rourke’s Tea Emporium.

Wexford Festival thrives on resurrecting long-forgotten operas, so is the perfect place for Halévy's take on Shakespeare, neglected for 170 years.

A journey through the subconscious of the main protagonist Edmea, with Anne-Sophie Duprels as the eponymous heroine.

In a 70th anniversary season dedicated to adaptations of Shakespeare, this concert performance made a compelling case for Karl Goldmark's final opera.

Rosetta Cucchi, who takes over as Artistic Director at Wexford Festival Opera next season, directs a Rossinian rarity and its newly commissioned "prequel". 

Fabio Ceresa returns to Wexford Festival Opera in flamboyant style with a production of Vivaldi's pasticcio. 

A terrific opening to the 68th festival with Aigul Akhmetshina's sultry Dulcinée the standout in a great cast. 

Mercadante's score proves to be something of a missing link between bel canto and early Verdi. 

Dinner at Eight, William Bolcom and librettist Mark Campbell's 2017 opera, had its European première at Wexford Festival Opera on Saturday under conductor David Agler. The opera is based on the 1932 play by George S Kaufman and Edna Ferber, in turn adapted into a movie by George Cukor (1933).

A terrifically strong cast gives a fine rendition of two lesser heard operas: Giordano's Mala vita Leoni's L'oracolo.

Franco Alfano’s name is inextricably linked to that of Puccini, as he’s mostly remembered for completing the unfinished score of Turandot, and has overshadowed his own operas. 

Foroni's forgotten gem, Margherita makes a welcome return at Wexford Festival Opera. A superlative cast, a charming production and glorious music make this a must-see event in this year's festival.

A fascinating modern production of Cherubini's masterpiece Medea. Lise Davidsen is especially noteworthy while the rest of the cast give luminous performances. 

A tour de force performance of Donizetti's infrequently heard Maria de Rudenz at Wexford Festival Opera. Gilda Fiume shines brightly as the eponymous heroine amidst a stellar cast. A must see. 

An intriguing performance of a wonderful, psychological opera that needs to be heard much more frequently this side of the Atlantic.

Excellent singing, dramatic sets and jolly music make this a rewarding revival of a long-forgotten opera, Herculanum by David. 

A traditionally staged Le Pré aux clercs fresh from Paris' Opéra Comique is presented with colour and joie de vivre.

Opportunities to see Mascagni's Guglielmo Ratcliff come few and far between, mainly because the title role is an absolute killer for any tenor mad enough to attempt it. Step forward, Angelo Villari...

This year’s Wexford Festival opened with Frederick Delius’ Koanga – a tricky piece to get right, but director Michael Gielata largely succeeded.