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A bland updating ends up flattening the contrasts and social satire that Verdi’s opera wants to highlight. 

A satisfying musical evening in Rome and an interesting directorial take on a Mozartian classic. 

After singing the role of Violetta over 300 times, Ermonela Jaho announces this Rome run of La traviata will be her last. 

Clever direction by Emma Dante matches an impressive cast, led by countertenor Carlo Vistoli taking the title role. 

With its 1940s setting, Luca Del Fusco’s direction alienates in a new production of Gounod's Shakespeare-inspired opera. 

Robert Carsen’s staging of Handel's oratorio arrives, via Salzburg, in the city where Handel composed it in 1707. 

In an opera rarely staged in Italy, David Hermann skilfully masters the metatheatrical challenges posed by the libretto to Ariadne auf Naxos. 

The Italian premiere of Lucia Ronchetti’s Inferno at the Teatro dell’Opera di Roma uses Dante’s original verses, but her score fails to match their beauty. 

Originally staged at the Caracalla Baths in 2014, Davide Livermore’s production comes in from the cold. 

Damiano Michieletto is entrusted with the first staging of Lohengrin in Rome for 50 years, but his distracting staging is redeemed by the musical side of things. 

This co-production, previously seen in San Francisco, is more of a semi-staging, convinces thanks to committed performances from a cast led by Fleur Barron.  

Following her Billy Budd and Peter Grimes, Deborah Warner directs a third Britten opera at the Teatro Costanzi. 

Despite an early misadventure, Teatro dell'Opera di Roma launches Maurizio Scaparro's staging of Rossini's comic opera with panache. 

An unusual double bill pairing of Puccini’s Suor Angelica and Dallapiccola’s Il prigioniero opens at the Teatro dell'Opera di Roma. 

Illusion – theatrical illusion – is the theme of Pierre Audi's staging of Alcina, Handel’s beloved opera which finally makes its debut in Rome. 

Valentina Carrasco's contemporary staging, with impressive sets and singing, makes for a remarkable show at the Teatro dell'Opera. 

A historical staging with well sung arias doesn't really bring Puccini's opera alive as Rome marks its 125th anniversary. 

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

Michele Mariotti and Johannes Erath lead us into the caverns of Il tabarro and Bluebeard’s Castle with two stories of violence against women 

Back on stage after stopping for the lockdown, Le Corsaire by José Carlos Martinez for Rome Opera Ballet creates a narrative ballet for our time, with an ancient flavour but a contemporary attack.

A new, musically convincing production of Bellini's last opera marks a welcome return to the Teatro dell'Opera di Roma, but Andrea De Rosa's staging lacks inspiration.

The controversial artist stages his first opera in Rome, with strong musical performances under dynamic Ukrainian conductor Oksana Lyniv. 

Richard Jones' setting is superb in its bare minimalism, but he pays great attention to all the psychological nuances in Janáček's opera. 

The Teatro dell'Opera opens its season with the world premiere of Giorgio Battistelli and Ian Burton's new Shakespearean work, under the baton of Daniele Gatti and the direction of Robert Carsen.

After a fifty-year absence from Roman stages, Verdi's opera about the Maid of Orléans makes an appearance at Teatro dell'Opera under the conduction of Daniele Gatti.

A performance meant to celebrate Stravinsky’s heritage proposed several works brimming with energy and wit that should be present in the concert life not only during anniversary seasons.

A marriage of Greek Mythology and American minimalism in Simone Valastro's new creation for the Ballo del Teatro dell'Opera di Roma. 

Graham Vick's new staging of Mozart's unfinished Singspiel marks a welcome, exciting reopening of Teatro Costanzi after the Covid-19 shutdown.

Living in an environment influenced by French culture, Verdi saw the chance of breathing new life into the Italian opera through the grand-opéra. Les Vêpres siciliennes is his successful attempt.

In Emma Dante's staging we are viewing an allegory of death as painted in the medieval frescoes of Italian cemeteries.

Robert Carsen's minimalist modern reading of Gluck's masterpiece is a pure distillation of opera (and life) and the Teatro dell'Opera di Roma.

Graham Vick stages his Marriage of Figaro in todays vulgarity, but he is not fully convincing.

Alessandro Talevi's gorgeous staging recreates Tosca as it might have been seen at its 1900 première. 

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

The Mediterranean setting of Auber's work is recreated by director Giorgio Barberio Corsetti with its intriguing teatro-immagine, where video projections and virtual reality are predominant.

Lord Sidney's contemplation of the insanity of the world seems to be the impetus for this delirious production. So endless is its stream of gags that to attend this show is to be left feeling exhausted.

Si le Teatro all’Opera de Rome a souvent fait preuve de conformisme par le passé, l’audace des productions de la saison 2016/2017 lui redonne un nouveau souffle. Après une Maria Stuarda magnifique c’est au tour de Lulu, chef-d’œuvre d’Alban Berg qui n’avait pas été donné à Rome depuis 1968, d’occuper la scène du Teatro dell’Opera. 

Difficile exercice que celui du drame lyrique pour deux Prima Donna qu’est Maria Stuarda. Il ne fallait pas moins que le talentueux duo constituait de la soprano lettone Marina Rebeka et de sa sœur de scène l’italienne Carmela Remigio pour donner ses lettres de noblesses à ce modèle de bel canto qui n’avait pas été donné sur les planches de l’Opéra de Rome depuis 2006.

Pour la première de la saison lyrique romaine, Daniele Gatti amenait l’Orchestra e Coro del Teatro dell’Opera di Roma dans un Richard Wagner épuré.

The visual results are stunning, though an uneven cast made this a performance with clear weaknesses as well as strengths. Aquiles Machado's Cavaradossi, on the other hand, was an indubitable revelation.

Leo Muscato's new production of Rigoletto was the first in Rome since conductor Riccardo Muti resigned in September, denouncing a lack of "serenity". 

Thoughtful character placement and a keen eye for detail contribute to a Carmen in Rome which is short on passion, but lovingly played.