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Claus Guth's staging walks a line between atmosphere and audacity, in a powerful company achievement from Latvian National Opera.

Elin Rombo shines in a co-production of King Roger with the Royal Swedish Opera and Teatr Wielki, in Warsaw

The first staging of Bellini's Norma in Oslo in over a century is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show.

In Paris, Russian enfant terrible reunites Iolanta with The Nutcracker... with wildly mixed results. 

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence. 

Lucia di Lammermoor is presented in Perú in a minimalist, highly stylized production, starring Jessica Pratt in the title role. 

I left the Sydney Opera House last night feeling vaguely dissatisfied, and yet a bit puzzled at my dissatisfaction. La Traviata is chock-full of Verdi’s most glorious music, and well though I know the score, I wasn’t feeling in the least jaded to begin with.

In his whole career as an opera composer Puccini only wrote one pure comedy, Gianni Schicchi, and even that forms part of his trilogy Il Trittico, of which the other parts could hardly be more tragic. However, La bohème is also a comedy in its own way, a comedy cut short by tragedy.

Calixto Bieito inszeniert Mussorgskys unvollendete Oper als tödliches Machtgerangel verschiedener Gruppen. Bei der Gestaltung des Schlusses leistet er sich Freiheiten, die grenzwertig sind.

Iolenta et Perséphone sublimées : vibrant hommage à la Lumière par l'Opéra de Lyon.