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The soprano's sumptuous Mimì is the main reason to catch the latest revival of Zeffirelli's La bohème at the Met. 

Leif Ove Andsnes brings out the singing line of Rachmaninov's Third Piano Concerto before vocal soloists Kristina Mkhitaryan, Dmytro Popov and Kostas Smoriginas join the London Philharmonic Choir and Orchestra for The Bells. 

Diane Paulus' staging is remarkably true to the original while making it feel like the work was written yesterday.

Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.

Conductor Ivan Repušić leads a successful revival of Verdi’s playful masterpiece, with a solid cast.

The musicians of MusicAeterna were impassioned, engaged and energised into a single force in this performance of Verdi's Requiem at the Aix Easter Festival.

Andris Nelsons leads a moving performance of Dvořák’s Stabat Mater with the Boston Symphony and Tanglewood Festival Chorus. 

A quartet of superb soloists shine through an orchestral and choral performance of great precision to bring out Verdi’s powerful evocation of the terror of eternal damnation.

A revival of Franco Zeffirelli’s 1981 production was graced by an impressive case, including the Met debut of soprano Angel Blue. 

One of the world’s great Carmens and John Bell’s smart direction is a winning combination for this Opera Australia production.

Calixto Bieito's production of Carmen attempts to humanise the title character, but in doing so leaves the rest as caricatures.

Thoughtful character placement and a keen eye for detail contribute to a Carmen in Rome which is short on passion, but lovingly played. 

Dmytro Popov and Nancy Fabiola Herrera star in a traditional production of Carmen at the Sydney Opera House.

There can be fewer more idyllic places in the world to see an opera. Behind the floating stage was Sydney’s harbour bridge and opera house; to the left, the lights of the central business district; and to the right, the glittering lights of the Northern Shore and the occasional ferry making its way to Circular Quay.

The message in Paul Curran's new production of Rimsky-Korsakov's The Tsar's Bride is a simple one: violent and powerful men are the same in every era. And, of course, no good can result from the violence. If the opera's title made you expect a happy and light-hearted occasion, think again: it's definitely not that sort of Royal Wedding.