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Kasper Holten’s much travelled and spectacular Don Giovanni gets a fresh and lively remount at Toronto’s Four Seasons Centre from a young cast headed up by Gordon Bintner. 

Lucas Meachem’s portrayal suggests a paraphrase of what another Hollywood Don Juan, Errol Flynn in 1949, said to his Leporello in excusing his escapades. “My dear friend, there’s a little bit of Don Giovanni in every man, and since I am Don Giovanni, there must be more of it in me!” 

Ildar Abdrazakov and Ain Anger excel in the confrontation of tsar and historian; Kaspar Holten's safe but effective staging focuses on the relentless march of history.

Swedish soprano Malin Byström returns to Sir David McVicar's production at Covent Garden, where she is now probably unsurpassed in the role, vocally and histrionically.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

Meredith Monk's ATLAS is presented by the Los Angeles Philharmonic in Yuval Sharon's production.

When it comes to the title role, Bartlett Sher's non-interventionist production misses the core of the character. 

A terrific cast takes on the latest revival of Kasper Holten’s video-infused staging of Mozart’s opera buffa.

Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.

This summer’s production of Bizet’s Carmen on the Seebühne stage in Bregenz offers a great spectacle. 

A visually stunning production with a fine cast to match. 

Little mark of Shakespeare's drama or Verdi's passion behind Bartlett Sher's exsanguinated, highly-stylized Otello for The Metropolitan Opera.

Bartlett Sher’s new production of Verdi's Otello opens the Metropolitan Opera's season in a staging dominated by multimedia sets.

Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.

Staging the operatic behemoth that is Berlioz's Les Troyens comes with huge challenges to harness the artistic, technical and dramatic qualities in a work which spans more than four hours. 

From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention. 

Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.

It's one of the most famous, most studied, most archetypal passages in epic poetry: in Book I of Virgil's Aeneid, the Trojans, exhausted from their voyage and desolate at the loss of their city, gaze down on the city of Carthage as it rises from the African soil, its people scurrying like worker bees in their manifold tasks.

Few live events could offer a more intense, visceral, grotesque experience than witnessing a performance of Oscar Wilde’s play Salome translated and adapted for the opera stage by Hermann Lachmann and set to music by Richard Strauss.