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Norwegian soprano Lise Davidsen returns to Sven-Eric Bechtolf's lean but polished production with an outstanding cast, outstandingly conducted. 

At 70 years old, American tenor Gregory Kunde makes a magnificent role debut as Captain Vere, with a strong ensemble of singers, chorus, and orchestra in Willy Decker's effective production.

Peter Kellner and Slávka Zámečníková's charming duo anchors this revival of Barrie Kosky's high spirited production.

The first premiere of the new Staatsoper season is a qualified success, led by Eleanora Buratto's superb Suor Angelica and Ambrogio Maestri's masterly Gianni Schicchi in Puccini's triptych of one-act operas. 

Despite an incapacitated Ying Fang miming the role of Susanna, the brilliant cast makes Barrie Kosky's new production worth the night out in Vienna. 

Already a psychodrama as written, the Salome according to Cyril Teste takes us deeper into what makes the protagonist – or is she a tragic heroine? – into who she is.

Audience protests against Roberto Abbado interrupt the opening night of the festival, Yannis Kokkos' staging of La forza del destino.

That Boris was sung by a Ukrainian in times like this might or might not have been a coincidence. But that Alexander Tsymbalyuk was an excellent choice for the role is indisputable. 

The Russian diva makes her Vienna role debut in Margarethe Wallmann's classic 1958 production. 

The Teatro Regio presents a Classical rarity with echoes of Mozart and anticipations of Rossini. Diego Fasolis conducts with imagination and spunk.

Renzetti's traditional rendition does not reveal yet unprecedented details of a score that is the summation of Verdi's mastery and his last work – his third based on Shakespeare.

Not a particularly revealing Falstaff, but a pleasing performance though. Maybe one would have expected something of greater impact from a festival like this one, but that goal had already accomplished by Graham Vick with his Stiffelio the night before...

In a staging new to Florence, the action is often merely a set of friezes, singers immobilised on a pair of moving plinths. 

It took a whole act to warm up the audience, but at the end, San Carlo's production of Lehár’s frothy operetta proved convincing