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For La Scala’s prima, outstanding vocal performances light up a busy but interesting staging of Verdi’s revenge opera by Leo Muscato.

The first new Forza at the Met for nearly 30 years is lustily sung, led by Norwegian soprano, Lise Davidsen, and Igor Golovatenko as her vengeful brother. 

Christof Loy's 2019 production proves even more compelling second time round, with excellent acting and a properly heroic tenor performance from Brian Jagde.

The Norwegian soprano scores a major success at Covent Garden in her role debut as Elisabetta, whetting appetites for more Verdi to come. 

Argentinian film director Damián Szifron's production is lauded in Naples, as are star soloists Anita Rachvelishvili and Brian Jagde.

Exceptional singing, an auspicious conducting debut and a staging that is both sophisticated and emotionally involving make this production an unequivocal winner.

Barrie Kosky's troubled production returns to Covent Garden

After a number of eccentric stagings, Mario Pontiggia's traditional production is a hit in Naples. 

Francesca Zambello's hip-hop graffiti staging of Aida comes to Seattle. 

Despite a strong vocal and orchestral performance, David Hockney's sets are still the main draw for San Francisco Opera's Turandot. 

San Francisco Opera's Turandot is a feast for the eyes and ears, but the drama falls flat.

Alan Gilbert reaches a pinnacle at the end of his tenure at the New York Philarmonic.

Kaneko's vivid designs grace this charming Butterfly. 

Gerald Finley's velvet baritone lights up this revival of David McVicar's production of Cilea's murder story

San Francisco Opera's Aida features exciting role debuts from Leah Crocetto and Brian Jagde and a visually striking production, but a lack of good direction keeps it from being great music drama.

Calixto Bieito’s production of Georges Bizet’s Carmen isn't without controversy. San Francisco Opera gave us raw sexuality unvarnished by any degree of social refinement.

Antonín Dvořák’s Rusalka, moving between the worlds and rooted in myth, is a shivering opera to experience with its opulent music and its fantastical plot. 

The story still remained moving and the performance was musically pleasant, but the staging did not convince overall

In director Daniel Slater’s production at Santa Fe Opera this summer, Freud is God, and a biblical saga of lust, incest and murder is presented through a Viennese, turn-of-the-century lens. 

Kristine Opolais offers a nuanced, moving Cio-Cio-San in a solid revival of Moshe Leiser and Patrice Caurier’s sepia and cream production of Madama Butterfly at the Royal Opera.

American tenor Brian Jagde is the standout in this Tosca, with just those notes of honey and throatiness that seem to wrap up an orchestra’s sound and deliver the whole package to your front door, no signature needed.

Continuing the experiment from the opening of the season, San Francisco Opera’s current run of Tosca has several performances occurring on consecutive days or in close proximity, necessitating two different casts. The Thursday opening made headlines when the leading lady was felled by illness and a new talent, Melody Moore, made her mark in storybook fashion.