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Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 

Eye-popping, hand-drawn animation melds with Mozart's fantastical world and the silent film era to create a colorful and energetic new-to-Seattle production.  

A visually delightful revival of Barbe & Doucet's action-packed Zauberflöte at Glyndebourne, with strong vocal performances throughout. 

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

Stephen Lawless' production of Donizetti’s whimsical comedy begins well and improves as it goes, with sparkling performances from an international cast.

Mariame Clément's hilarious and brilliantly original staging of Rossini's opera buffa is served with a generous helping of Rossinian bel canto. Who could ask for more?

Good-time girl, hometown sweetheart, torn-apart lover, smugglers and rivals, familiar songs, a cliffhanger of a tale. 

Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.

A youthful Bellini opera able to stand on its own two feet? Perhaps not, as Adelson e Salvini gets the Opera Rara treatment. 

Director Trevore Ross emphasized the silly and the madcap in Beaumarchais’ hectic plot to The Barber of Seville. The audience loved it. 

The wait was long between James Levine’s 2,442nd and 2,443rd performances at the Metropolitan Opera, but it was worth it. What’s more, Lesley Koenig’s 1996 production of Così wears its age well.

The inter-war years produced some of the most dynamic and popular choral works that have been composed since the 18th century. Tonight’s London Philharmonic Orchestra concert, conducted by Hans Graf, combined two very different results of this flowering. Both masterpieces in their own way, they unexpectedly complemented each other and made for an entertaining concert.