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Conductor Tomáš Hanus leads a great cast in a stunningly beautiful production of Dvořák’s masterpiece directed by Emma Dante.

William Christie and Les Arts Florissants show true Baroque musicianship in Madrid, in an Ariodante with a solid cast.

The Staatsoper's new Falstaff is a production that is attractive not only visually, but also in terms of the varied musical color.

Excellent playing from Les Musiciens du Louvre and a mixed vocal performance are matched by a staging by Ivan Alexandre likely to be controversial.

Vienna State Opera's traditional production of Carmen managed to create an evening of both sumptious music and exciting drama on stage.

Conductor Tomáš Netopil reprises the spirit of the festival and adds a modern burnish with an energetic performance of a smart, satisfying program.

Jürgen Flimm takes so many liberties with Mozart’s La clemenza it should be re-titled “Tito’s Lament”.

Those who are able would be wise to scare up a ticket for Shicoff’s swansong – it would be a shame to miss an historic performance. 

Ariadne auf Naxos is the ideal Viennese opera: an entertainment by Richard Strauss and Hugo von Hofmannsthal that satirises the relationship between composer and patron.

The Magic Flute at the Deutsche Oper Berlin is an interesting, well-sung and well-performed classic. Set in an agrarian world where Sarastro is less a high priest than he is a benevolent farmer-king, Günter Krämer’s 1991 production does not subvert the opera’s problems so much as it highlights them.

In Act II of Tannhäuser, Hermann, Landgrave of Thuringia, sets the theme of the singing contest that is about to take place in his hall by asking: “Can you describe love’s nature to me?” To some extent, the entire opera is an examination of two very different answers to that question.