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This production focuses on the psychological and human aspects of the central characters, rather than on their political conflict, with Elizabeth playing a pivotal role.

Martin G Berger exhaustively reworks the story and the libretto of Salieri's Cublai, gran kan de' Tartari and throws the kitchen sink at this new production, but not everything lands well. 

Rossini's 1816 farce fails to make a splash as Marco Carniti's frenetic staging returns to Pesaro. 

An impressive revival of Filippo Crivelli's 1998 production of Il barbiere di Siviglia, with a lively cast in Naples.

Gaëlle Arquez, in one of her infrequent wanderings into Italian bel canto, leads a cast of Rossini specialists under the baton of Ottavio Dantone.

Mario Martone's 2006 production captures both the aesthetic and the spirit of the age.

The libretto had a troubled genesis, to say the least: seven people put their hand on it! But the rich melodic invention of the composer prevailed and the success was resounding.

1960s kitsch set in old Seville, excellent acting and movement direction combines with strong singing and immaculate playing from the OAE to make Glyndeboune's Le nozze di Figaro a triumph.

Leah Hausman's revival of David McVicar's production allows the comedy to stem from the situations set up by Mozart and da Ponte... aided by Erwin Schrott's witty Figaro.

A glittering production of Rossini's retelling of the Cinderella fairy tale at the Teatro San Carlo. 

Alden’s mise-en-scène developed the most modern aspects of Il turco's libretto. The stage not only showed what the Poet was participating towards, but the other characters also seemed to perform the poet’s conception of his own work. 

The opening of the Teatro Real’s season in Madrid has been anything but uneventful. However, Rossini’s Il Barbiere di Siviglia, the ever-pleasing opera chosen to welcome back an expectant audience, had very little to do with it.

There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.