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Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

In the title role of Canadian Opera Company's Medea, soprano Sondra Radvanovsky offers the vocal and dramatic goods required by this flawed masterpiece. 

The Teatro di San Carlo opens its season with Vasily Barkhatov directing a Gen X mish-mash take on Puccini's final opera. 

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

Sir David McVicar's new production opens the Met season with house's first ever staging of Cherubini's Medea.

Antonino Fogliani conducts a concert performance of Bellini's rare bel canto opera. 

The French-Sicilian tenor shines in Sir David's McVicar's pristine take on Umberto Giordano's slice of verismo. 

Sondra Radvanovsky scores a rousing success in the taxing title role of Bellini's masterpiece in New York.

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.

For her London recital debut, Sondra Radvanovsky offered a varied programme of ranging from Bellini to Barber, showing off the technique with which she has dazzled American audiences.

In the end, Newbury’s production leaves you with more questions than it answers. 

Kent's staging brings out the sleaze in Puccini's first big hit; Sondra Radvanovsky thrills in the title role; the musical performance improves through the evening.

Sondra Radvanovsky tackles another Donizetti queen - Elisabetta in Roberto Devereux - at The Met. 

A brilliant revival of Donizetti's Maria Stuarda at The Met centres on the dramatic confrontation between Queen Elizabeth I and Mary Stuart at Fotheringhay. 

In Anna Bolena, Sondra Radvanovsky plays a queen who loses her crown. But she approaches a different coronation: as the first to play three of Donizetti's Tudor Queens at the Met.

A good staging and good acting aren't enough to make up for musical shortcomings of the Bayerische Staatsoper's Norma. 

American soprano Sondra Radvanovsky is the reason to see Anna Bolena, though the production provides plenty of other reasons to stay. 

San Francisco Opera opens its 92nd season with Bellini's Norma starring Sondra Radvanovsky as Norma and Jamie Barton as Adalgisa.

With smart direction, elegant design, and vocal fireworks, the Canadian Opera Company's Roberto Devereux offers a complex portrait of a much-loved historical figure.

When the Met estimated the timing for Norma, Bellini’s familiar bel canto opera included in their fall repertory this year, they did not factor in the ongoing applause for soprano Sondra Radvanovsky.

Verdi experts regularly name Un ballo in maschera to be one of his finest works. In spite of this, it’s never reached the heights of popularity of La Traviata or Rigoletto, so a new production by an acclaimed director for a major opera house is a notable event. We watched David Alden’s New York Ballo from the comfort of a London cinema under the Met’s Live in HD series.

Read our review of David Alden’s production of Verdi­'s Un Ballo in Maschera in its 2012 broadcast from the Met Opera in New York. 

Ladies and gentlemen of Washington DC and the nearby lands!If last fall you did not get a chance to journey to New York for the Met’s season-opening production of Anna Bolena – do not fret! Last Saturday the Washington National Opera opened its new season with a production of Anna Bolena (a little too bloody for a season opening if you ask me, but maybe that’s what attracts most people to opera th

In our youth, my brother and I adored Cecil B. DeMille’s epic film The Ten Commandments. Not only did we like the well-written and brilliant take on the beloved biblical story of Moses, but we were also fascinated by the lavish sets and historical aspects of the film.

Read our review of David McVicar's production of Verdi's Il Trovatore in its 2011 broadcast from the Met Opera in New York.

If the painstaking recreation of Rome during the Napoleonic Wars is stripped away from the setting of Tosca. If choral numbers, sparing to begin with, are muted as distant drumbeats. If the title character is reinterpreted as a country girl with little artifice rather than a grand diva whose sheer confidence and sexuality prove irresistible to men.

“Hate breeds hate.” I cannot possibly count all the times that I have heard this alarmingly true statement during my entire lifetime be it from my parents, mentors, or other individuals that I have encoutered. Indeed, this statement has proven too true countless times throughout the history of mankind, becoming a perennial favorite theme for artistic works ranging from novels to plays.