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John Adams’ Nativity oratorio is fully staged in a new production by Lileana Blain-Cruz, her first time directing at the Met. 

Brett Dean’s Hamlet at the Met is a worthy addition to the operatic canon, and the production is a treat. 

In its Royal Opera House debut, Irish National Opera's high-energy Bajazet provides a great evening for Baroque fans and sceptics alike.

An over-directed, but vivid staging demonstrating political rise and fall in Ancient Rome transported to the present day.

Laurence Cummings conducting the FestspielOrchester Göttingen and the NDR Chor, with an exemplary suite of vocal soloists, but a slightly problematic venue, sweep all before them in the Handel Festival of 2020.

Loyalty and misdeeds in the jungle of emotions in Handel's Poro, re dell'Indie.

Handel’s Semele is presented as a flashback at the Komische Oper in Berlin. 

A woman, mother and outcast needs to make life choices in a hostile environment.

An astringent sorbet between the courses of a heavily sauced Wagnerian banquet.

Kay Link's new production of Handel's pasticcio Oreste is surprisingly strong theatrically, often musically too. 

The applause and screams at the premiere were raucously frenetic – and while the hysteria seemed a bit exaggerated, an energetically positive reception was completely justified.

Today, Vivaldi’s operas remain rarities. The American première of Cato in Utica at the Glimmerglass Festival (located an hour south of Utica, NY) attempted to elevate this little explored corner of Baroque repertoire.