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Claus Guth's new production at the Metropolitan Opera, originally seen at the Bolshoi in 2021, moves the action from biblical Judea to the era of the opera's composition. 

Ambur Braid excels in the title role in the Canadian Opera Company’s starrily cast revival of Atom Egoyan's production.

The COC revival of its 2016 production of Le nozze di Figaro is still rooted in Claus Guth’s gloomy Scandinavia but it’s lightened up to become much sexier and funnier.

Gianandrea Noseda takes his post as general music director at the Opernhaus Zurich leading a great cast in Adele Thomas' successful new production. 

Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Christopher Alden’s production of Verdi’s Rigoletto returned to Toronto tighter, more focussed and with fewer dramatic incongruities. Add to this that every aspect of the music making was top notch and it made for a fine evening at the theatre.

Andrea Chénier returns to San Francisco Opera after a long absence, in Sir David McVicar's realistic production. 

There was a nod to John Adams in the score, but also a kind of edgy Americana, complete with powerful writing for male chorus, and an attempt to communicate the flavor of rural North Carolina, not far from where Higdon grew up.

Quinn Kelsey's Rigoletto is commanding, emotional and complex. His bass-baritone has all the qualities you could ask for – darkness and light.