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The festival’s closing concert brings drama from the RSNO and conductor Thomas Søndergård, but Christopher Maltman's Elijah brings the presence of greatness. 

Superb Handelian singing and intense character acting light up Handel’s Semele, staged as a stark, uncompromising indictment of the rich and powerful. 

A star-making turn from Emily D'Angelo can't rescue Jeanine Tesori's uninspiring new opera with which the Met opens its new season. 

A visually captivating and lyrically authentic production by Doug Scholz-Carlson for the Lyric Opera of Kansas City.

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. 

Peter Mattei's smooth-as-silk baritone leads a handsome cast in the Metropolitan Opera's bleak new production of Mozart's great dramma giocoso. 

Profound questions as the Tanglewood season closes with the traditional appearance of Beethoven's Ninth Symphony. 

Jonathan Miller's modish production returns to The Metropolitan Opera with three leads who are absolutely right. 

Phelim McDermott’s Coney Island Così fan tutte returns to The Met, in sparkling vocal performances. 

Alison Moritz's alluring production of The Abduction from the Seraglio for Lyric Opera of Kansas City

Despite an abundance of incongruous symbols, this Toronto performance was remarkable for its outstanding singing.

Phelim McDermott’s new Met production is set in Brooklyn’s Coney Island in the late 1950s and is brilliantly vivid looking, but Mozart's music plays second fiddle. 

With Verdi's Otello, Music Director Robert Spano continues a recent Atlanta Symphony Orchestra tradition of presenting grand operatic works in a concert hall version

Mozart meets the movies as 1927's wacky production comes to Opera Philadelphia. 

The Gran Teatre del Liceu's revival of a shortened Merry Widow lacking some of the essence of this highly popular operetta.

Yannick Nézet-Séguin led an intriguing performance of Wagner's Flying Dutchman at the Met with a superb orchestra and an excellent ensemble of singers. 

Maestro Leo Hussain’s translucent rendition of the score made Capriccio the crowning glory of the Santa Fe Opera Season.  

David McVicar's production is visually stylish, superbly acted and the attention to detail is pervasive. Show-stealing acting from Franck Saurel's Selim and a fine Osmin from Clive Bayley help make this a memorable evening's opera.