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From the chrysalis of a Broadway play and then to film, David Henry Hwang's M. Butterfly turns full cycle into an opera by composer Huang Ruo. 

The latest revival of the company’s 2007 stylish production of Gluck’s operatic take on the Orpheus myth is enlivened with superb singing and dancing.

The compelling story of boxer Emile Griffith's struggles with guilt and sexuality are not ideally rendered in James Robinson's new production.

The Metropolitan Opera finally reopens its doors on a new season, staging Terence Blanchard's powerful work for the first time.  

Jamie Barton's rich, mellifluous mezzo is ideal for singing Orfeo.

American composer Jake Heggie's early opera performed by Washington National Opera was one of those rare experiences of an opera full of raw power and wrenching emotion with superb performers that one is not likely to forget soon.

Washington National Opera continues its cycle of social justice operas.

Mozart's intoxicating harem opera taken captive by the non-singing despot.

Samuel Barber's Vanessa, with a libretto by Gian Carlo Menotti, is rarely staged, but Santa Fe makes a tremendous case for the opera. 

Christopher Alden's risk-taking, Expressionist-tinged production of the early Wagner breakthrough is provocative in all the right ways.

Alek Shrader was in control of his high cs and managed to play comedy while sending out glorious wafting notes of emotion and musicality.  

This autumn is Strauss and Freud season in London: while the Royal Opera are showing Charles Edwards’s searingly Freudian take on Richard Strauss’s Elektra, ENO have opted for the polar opposite mood with Johann Strauss’s Die Fledermaus: Christopher Alden’s production is just as Viennese, just as laden with dreams and sexuality, but filled to the brim with gags and frivolous decadence.

It took me a while to warm to director Christopher Alden’s revisionist production of Johann Strauss II’s chestnut and whipped cream torte of an operetta, but gradually the outrageous battiness of it won me over.The story that Alden and his team fashion into a Freudian farce with touches of Bram Stoker goes like this.

Read our review of Mark Morris' production of Gluck­'s Orfeo ed Euridice in its 2009 broadcast from the Met Opera in New York.