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As Richard Eyre’s staging reaches its 30th anniversary, a new Violetta arrives on the Royal Opera block in what proves to be one of the best revivals in recent years. 

Adela Zaharia is cast as a Violetta for whom the party never stops in this revival of Tatjana Gürbaca's busy staging at Dutch National Opera. 

In its 25th anniversary season, Richard Eyre's production continues to attract the world's great sopranos to the role of Violetta, the latest being Aleksandra Kurzak. 

A promising cast on paper is scuppered by a banal, monotonous production and uninspired conducting.

This year’s revival of Andreas Homoki's production features excellent principals, choruses, and sublime orchestration under Fabio Luisi’s seasoned baton. The staging takes far fewer accolades.

Outstanding vocal and orchestral performances light up La Scala's season opener, matched to a conservative but visually arresting staging from Davide Livermore.

A trusty and convincing version of the masterpiece, with a cast of well-matched singers.

Musically, a rewarding Forza, but Homoki's staging is best forgotten.

That both the lead and a second key role were ill and couldn’t sing did not bode well, yet this performance of Verdi’s Un ballo in maschera shook up the house nonetheless.

At least the colour-coded characters in Andreas Homoki’s farcical production made it easy to know which team to barrack for.

About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.

In this staging of Verdi’s  masterpiece, the director reminds us that the ominous epilogue springs from its short prelude.

A lacklustre season opening at Teatro Real proves once again the elusive nature of Verdi's masterpiece.

Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.

Andreas Homoki’s new production of Vincenzo Bellini’s I puritani wows with a quartet of stellar vocalists, but its awkward staging and set design are a distinct disappointment.

Young Russian coloratura soprano Maria Nazarova gets the Oscar. 

The Merry Wives of Windsor – relocated to Scotland – sing beautifully, as does their wooer, Falstaff. But it's not clear why they're in Scotland in the first place, or how the rest of the staging fits the opera.

Giuseppe Verdi’s Attila is not an opera that one hears often. Composed during his self-styled “galley period” – before he found his mature musical voice with Rigoletto – Attila has inherent musical and dramaturgical weaknesses. With one foot still firmly rooted in bel canto tradition, the numerous cabalettas can be exhausting, even ridiculous, considering the dramatic nature of the text.

Yesterday I went to see a convoluted story about French revolutionaries, as belted out at top volume to serviceable but hardly creative ballads. No, I didn’t go to the Les misérables movie. I went to see Roberto Alagna in Opera Orchestra of New York’s concert presentation of Umberto Giordano’s Andrea Chénier.