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Mark Elder brought the Hallé down to the Royal Albert Hall for an interesting programme of Dukas, Respighi and Puccini.

Michieletto's slightly cold take on one of Donizetti's greatest comedies is amply compensated by some spectacular singing, with Pretty Yende's Norina a particular delight.

Zubin Mehta leads a great cast in a revival of a successful production of Verdi's Falstaff at the Staatsoper in Berlin

Splendid performances and a Nazi makeover turns Puccini's political tragedy into a visceral experience.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

Donizetti’s magic potion was much more Bollinger bubbles than bad Bordeaux.  It was delightful, delicious and de-lovely.

Nabucco in a shopping mall – this is Graham Vick’s concept for his new production of Verdi’s early masterpiece created specifically for New National Theatre Tokyo.

Giuseppe Verdi and Arrigo Boito's Otello is renowned as one of the few truly successful Shakespearean operas, and while it's mostly a masterpiece on its own terms rather than Shakespeare's – countless scenes and characters are cut, and the very Verdian drinking song goes on far longer than you'd probably expect – there remains a hint of the brilliance of characterisation with which Shakespeare's p

In 1971, the thirty year-old Placido Domingo made his Covent Garden début as Cavaradossi in Puccini's Tosca and in the intervening forty years, he has given two hundred and thirty performances in more than twenty-five roles for Royal Opera House audiences.

Murder. Suicide. Grand larceny. Puccini's triptych of short operas, two tragedies followed by a riotous farce, always makes for an evening of variety, with the potential for many snatches of greatness.

Otello, Verdi’s penultimate opera, is a tightly-wound setting of Shakespeare’s familiar tragedy. From the opening storm to the title character dying upon a kiss, it is more fragmentary and emotionally cool than his earlier work, an opera that tends to be more admired than loved.

Read our review of Giancarlo del Monaco's production of Puccini's La Fanciulla del West in its 2011 broadcast from the Met Opera in New York.