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Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

Dvořák’s final opera gets a rare staging outside its Czech homeland, at Wexford – the festival where dead operas return to life.

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

The new version of La bohème at the Komische Oper Berlin follows a hard Verismo-beat.

In a highly effective stage presentation, the Minnesota Opera tells Jules Massenet’s story of two personalities whose spiritual journeys are like two ships passing in the night.

Franco Alfano’s name is inextricably linked to that of Puccini, as he’s mostly remembered for completing the unfinished score of Turandot, and has overshadowed his own operas. 

Sung in English, a performance of Káťa Kabanová lacked the expressive power of the original, but exposed Juilliard Opera students to the marvels of Janáček’s musical style.

Leon Botstein and the American Symphony Orchestra revive Mascagni's Iris in a fully staged version in Frank Gehry's architecturally stunning Richard B Fisher Center at Bard College.

A double bill of rare operas: it’s like Christmas has come early in London. The Guildhall School are pairing Debussy’s The Prodigal Son with Donizetti’s sparkling court comedy Francesca di Foix.

I’m sure before long I’ll see a production of Daisy Pulls It Off that opens with modern day soldiers charging onto the stage waving rifles about – it seems to be the first image directors reach for these days.