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The COC’s revival of The Magic Flute is mostly played for laughs and makes an enjoyable, if undemanding, evening.

The Norwegian soprano proved near-ideal, with ethereal high notes and a steeliness well suited to the character.

The current stage-setting of Arabella at the Wiener Staatsoper proves that “all that’s Glittenberg” is not gold.

Lavish sets and costumes, plus high musical quality, make Tosca at the Vienna State Opera a fine example of grand opera. 

Tchaikovsky’s passionate drama is put into the deep-freeze by chilly stage designs.

The Canadian Opera Company's popular production of Puccini's beloved opera returns, its beauty intact and more beguiling than ever, with a powerful lead performance by soprano Patricia Racette.

I left the Sydney Opera House last night feeling vaguely dissatisfied, and yet a bit puzzled at my dissatisfaction. La Traviata is chock-full of Verdi’s most glorious music, and well though I know the score, I wasn’t feeling in the least jaded to begin with.

A glittering high society romance. A sordid tale of a prostitute born in the gutter and dying alone and painfully. A bel canto charmer, packed with glorious tunes. A scathing attack on Victorian sexual hypocrisy. Verdi's La Traviata is all of these things: find in it what you will.Richard Eyre's production for the Royal Opera is a hardy old soldier.

Germany is the land of Regie-Theater, opera in which the director’s vision is paramount, and where that vision frequently contains an alternative tale in a modern setting based on thoughts that the opera has inspired in the director.