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Martin Kušej gives Mozart and Da Ponte's commedia per musica a sinister mafia setting, which is low on laughs but outstandingly performed, led by Lea Desandre's charismatic Cherubino.

A highly satisfying level of polish in La Monnaie's stream in which one recognizes a precisely executed live performance at its core – one that would be thrilling to experience in person. 

The Bayerische Staatsoper's new production of Falstaff makes the mistake of turning a comedy into a slapstick, but the fine ensemble have the last say as they stand in silence and defiance to face the empty auditorium.

Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.  

Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Saint-Saëns' exotic dip into the Bible is given a cool update in Alexandra Liedtke's new production at the Wiener Staatsoper.

An unlikely coupling of one-act operas by Zemlinsky and Puccini bears fruit in a staging that reveals their thematic parallels while leaving their obvious differences on show.

Hartmann's staging takes a bizarre twist in the end since so far the staging had followed the naïve story very faithfully without any weird implications.

A fairly conventional version of Beethoven's Fidelio at the Grand Théâtre in Geneva plays it safe and ultimately succeeds.