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Barbara Hannigan is better than ever in Krzysztof Warlikowski's iconic Lulu at La Monnaie – an historic event.

Marlis Petersen's Alcina bloomed for a knockout “Ah! mio cor!” just in time for intermission.

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

Willy Decker's production, presented in Zürich in 2014, is revived at the Hamburgische Staatsoper with most of the same cast

It took Vienna State Opera almost 90 years to present Leos Janacek's Věc Makropulos, but in Peter Stein's production, it was worth the wait.

A riveting performance of Schoenberg's Moses und Aron, despite the absence of the golden calf, the burning bush, Sodom and Gomorrah. 

With two happy endings, two recognition scenes, and a second act that seems more of a self-contained sequel than a conclusion to the first, Gluck’s Telemaco has come in for a musicological pasting over the years for its alleged weaknesses of dramatic content and construction.

This was the second vocal concert of late (the last being Ariodante with Joyce DiDinato) to feature an exemplary female soloist caged inside an otherwise nondescript performance. Jérémie Rohrer tried in vain to force energy out of French chamber choir Les Elements and period ensemble Le Cercle de l’Harmonie.