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Cavalli's debut at La Scala is a triumph, earning applause that not even a Bohème or a Traviata can sometimes elicit. 

"Expect the unexpected" is a useful maxim for reviewers. Major last-minute changes to the advertised La Scala programme, with Chen Reiss in Mozart and Zubin Mehta in Beethoven and Schubert.

It’s the title character who gets the best tunes in Ariodante and Irish mezzo-soprano Paula Murrihy ate them up. 

Graham Vick's new staging of Mozart's unfinished Singspiel marks a welcome, exciting reopening of Teatro Costanzi after the Covid-19 shutdown.

The Los Angeles Philharmonic brought back its Conductor Emeritus, Zubin Mehta, for an outstanding performance of Mahler's “Resurrection” Symphony as part of its 100th anniversary celebrations. 

A terrific cast takes on the latest revival of Kasper Holten’s video-infused staging of Mozart’s opera buffa.

William Christie and Les Arts Florissants show true Baroque musicianship in Madrid, in an Ariodante with a solid cast.

A majestic Mahler 4 from the Philharmonia under Lahav Shani, crowned by Chen Reiss’ wide-eyed rendition of Das himmlische Leben. 

The current stage-setting of Arabella at the Wiener Staatsoper proves that “all that’s Glittenberg” is not gold.

The Concertgebouw and Daniele Gatti paint two very different pictures of Old Vienna: a maddeningly lifeless view of a Haydn symphony and a magical realisation of Mahler's shortest symphonic work.

A religious-themed program made for a particularly moving Easter weekend concert from Dutoit and the CSO, highlighted by the serenity of Fauré’s Requiem.

Baroque purists might prefer a more surefire line-up of brilliantly executed arias, but the theatrical framework of Adrian Noble's Alcina production offers a great deal.

World-class artists collaborate to celebrate Suntory Hall's 30th anniversary. 

The Vienna State Opera’s revival if their 2014 production of Janáček’s The Cunning Little Vixen with conductor Tomáš Netopil vividly realises the glowing colours of the composer's great affirmation of the eternal vigour of nature.

Otto Schenk's Vienna production of Der Rosenkavalier has been mounted 366 times since its 1968 inauguration and there is definitely no demand for a new one.

A fine cast and orchestra revive Simon McBurney’s twilit, inventive Magic Flute at Dutch National Opera.

Janáček turned, after a life of much unrest and complexity, to a theme of apparent simplicity shrouding much more complex issues: a fairy tale.

This L’elisir d’amore at the Vienna Staatsoper, with Lawrence Brownlee and Mario Cassi, saw a successful two-performance test-run before its return in March, again under the baton of Guillermo García Calvo.

Dancing teddy bears, a larger-than-life Sarastro, live birds and numerous airborn characters all make the brand new production of Mozart’s beloved Singspiel at the Staatsoper a very family-friendly event.

For the first time in recent memory, the Dallas Symphony Orchestra presented a program this weekend without any blockbuster audience-favorite to be found on it.

Programming is one of Simon Rattle’s fortes, and this was clearly evident her. Both works on the programme, Brett Dean’s The Last Days of Socrates and Michael Tippett’s A Child of Our Time are large-scale oratorios dealing with difficult subject matter.

If director Luc Bondy has a muse, it’s the Georgian baritone George Gagnidze, blessed with a bulging eyes and a big, craggy voice. After growling and sneering his way through Scarpia in Bondy’s much-maligned Metropolitan Opera production of “Tosca,” Gagnidze is back to do the same to the title role of “Rigoletto” in Bondy’s new production at the Wiener Festwochen.