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Through brilliant singing and layered acting, Javier Camarena, Mané Galoyan, and Igor Golovatenko drive a Rigoletto to warm a traditionalist's heart. 

Shawna Lucey's production from San Francisco Opera misses the mark as it premieres to a packed Dorothy Chandler Pavilion. 

Some exceptional singing intermittently enlivens Daniel Slater's production which, dramatically and emotionally, takes time to ignite.   

Welsh National Opera brought a cast of strong voices to Birmingham for a production of Rigoletto intriguingly set in the White House of the 1960s. 

It’s a small miracle that the production has been recreated so well in such a short time frame.

WNO make a compelling case for Prokofiev's gargantuan War and Peace.

A welcome opportunity to hear one of Tchaikovsky's less known operas in Naples.

In spite of some questionable staging, Lyric Opera of Chicago opened its Ring cycle on a strong note with a stellar cast, notably featuring Eric Owens’ role debut as Wotan.

David Jones' First World War epic poem comes to musical life in Iain Bell's newly-commissioned opera. 

Opera North's revival of L'elisir d'amour directed by Daniel Slater at the Grand Theatre, Leeds, still bubbles with life, in spite of its age.

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

The Royal Danish Opera's new production of Carl Nielsen's first opera Saul og David updates the action to the present-day Middle east and, while well-sung, comes off as overly simplistic.

Smetana's The Bartered Bride by Opera North at Leeds Grand Theatre directed by Daniel Slater is a confident revival of an old success. 

A suitably rustic account of Janáček’s tale: seductive, engaging, and with a sense of intimacy ideal for this small venue.

It is a truth, universally acknowledged, that a Handel opera in pursuit of a happy ending must have a few twists and turns, and Ariodante has everything you would expect.

A great number of works from the bel canto era and before have not found their way into the current operatic repertoire, generally for good reason: many are flawed, dated or just not particularly distinguished. Garsington Opera have just proved to us that Rossini’s Maometto Secondo is not one of those.