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Die Neuinszenierung von Evgeny Titov mit einer grandiosen Sonya Yoncheva lässt die Opernherzen in Wien höherschlagen.

Lotte de Beer wagt ein Capriccio aus Peter Tschakowskys Jolanthe und dem Nussknacker. Durchweg unterhaltsam, aber nicht bahnbrechend.

Romantisch und ergreifend: Petrenko und die Berliner Philharmoniker rühren mit Tschaikowskys Jolanthe zu Tränen.

Mit der Kombination aus Tschaikowskys Iolanta und Strawkinskys Marva zu einer Doppeloper gelingt dem Opernstudio ein zauberhaftes Experiment.

Das Gastspiel der Helikon-Oper Moskau am Theater an der Wien zeigt Beginn und Ende von Tschaikowskys künstlerischen Schaffens.

Lydia Steier liefert mit einem doppelten Opernabend ein überzeugendes Hausdebüt an der Oper Frankfurt.

Benjamin Reiners schafft mit einem herausragenden Orchester und Sängerensemble einen unvergleichliches Hör- und Seherlebnis.

When is The Nutcracker not The Nutcracker? When's it's mashed together with Tchaikovsky's Iolanta to represent the blind princess’ inner world in a dark interpretation. 

Tchaikovsky's final opera and ballet were always intended to be paired; at the Royal Albert Hall Petrenko and the RPO present them together in a rewarding double-bill, marred by microphones.

Une Iolanta plus candide que jamais, un orchestre du Mariinsky lumineux dirigé par un Gergiev imaginatif : l'opéra de Tchaïkovski couronne en beauté le week-end Saint-Pétersbourg de la Philharmonie de Paris.

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

L’opéra Iolanta et le ballet Casse-Noisette sont réunis dans une co-création d’envergure qui rassemble les talents du scénographe Dmitri Tcherniakov et des chorégraphes Sidi Larbi Cherkaoui, Edouard Lock et Arthur Pita.

Llega al Palau de les Arts una producción procedente del Teatro Mariinsky de la última ópera compuesta por Tchaikovsky, Iolanta.

Students triumph in Tchaikovsky's Iolanta and Ravel's L'Enfant et les sortilèges.

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.

Iolenta et Perséphone sublimées : vibrant hommage à la Lumière par l'Opéra de Lyon.

In Paris, Russian enfant terrible reunites Iolanta with The Nutcracker... with wildly mixed results. 

A twin bill of fairy tales in Prague delights and disappoints.

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence. 

The Met's première of Iolanta and Bluebeard's Castle, delayed by snow, opened with powerful singing and deeply effective staging. Iolanta showcased beautiful singing from the principals, while Bluebeard's Castle showed off brilliant playing by the Met Orchestra.

Iolanta and Francesca da Rimini work particularly well as a double bill because both works share the theme of lovers who find themselves at the mercy of possessive forces. Iolanta's domineering father ultimately yields in Tchaikovsky's opera, but in Rachmaninov's the deceitful Lanceotto is not so accommodating.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.