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Angela Brower steals the crown in the final instalment of Jetske Mijnssen’s Donizetti trilogy with a voice of apparently limitless emotional range. 

Jan Philipp Gloger's production returns to Amsterdam with a superb cast led by Maria Bengtsson and Angela Brower. 

The Staatsoper Unter den Linden's multi-seasonal Baroque project continues with a new production of Mozart's first opera seria, which roars and soars under the conducting of Marc Minkowski.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

Dutch National Opera's superbly sang Così fan tutte is transposed into a teenager summer crush story.

While Bellini’s two-act opera Norma underscores the religious wars between the ancient Druids and Romans, it also highlights an emotive personal conflict that is veiled in deceit and cultural discrepancy.

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

Kirill Petrenko’s second night at Carnegie Hall packed a punch as the orchestra of the Bayerische Staatsoper delved deep into Strauss’ score, supporting an impressive cast of singers.

Offenbach's vivid setting of ETA Hoffmann's fantastic tales gets an enjoyable outing, with Spyres, Testé and Pudova the undoubted stars of the show.

A superlative cast and perceptive staging make for a gripping revival of Strauss’s Ariadne auf Naxos at the Glyndebourne Festival.

Fine singing from the quartet of lovers isn't enough to prevent Bychkov's slow tempi and Gloger's earnest direction from turning Così into a very long evening.

Both the staging and the music of the Bayerische Staatsoper's Traviata disappoint.

The Bayerische Staatsoper's La clemenza di Tito features a bold staging, a talented cast of singer-actors, and a great orchestra. Time, place, and genders are all ambiguous, but none of that gets in the way of the story.

The return of Offenbach’s Les Contes d’Hoffmann to the stage of San Francisco Opera on Wednesday night was a welcome and long overdue event.

Although written many years before Rossini's The Barber of Seville, the story of The Marriage of Figaro is in fact the sequel to that of the later opera. This farcical masterpiece of the opera buffa style was the first of three operas Mozart worked on with the Italian librettist Lorenzo da Ponte and was a risky undertaking.

For its 40th anniversary, the Hong Kong Arts Festival chose Mozart’s Così fan tutte as its main opera offering. Whatever you may call it – opera buffa, comedy of manners, or “dramma giocoso” – Mozart’s lovely music makes Così fan tutte wonderful entertainment. That’s what the Bavarian State Opera delivered on Sunday afternoon to commemorate this important milestone of the Festival.

One of the questions this opera poses for any director is how to link the 'tales' of Hoffmann's three lost loves together and knit them satisfactorily into the Prologue and Epilogue.