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Strong performances by chorus, orchestra and the father-daughter pairing of Amartuvshin Enkhbat and Anna Pirozzi make this Covent Garden revival well worth the visit.

Questionable conducting aside, The Royal Opera's latest revival of Damiano Michieletto’s fluid production of the famous operatic double-bill is terrifically executed by two excellent casts.

The Deutsche Oper revives once again Boleslaw Barlog’s old production, with two outstanding singers at their debut in the house.

Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.

Stefano Poda's staging has its own coherence, but it is as cold as the Chinese princess. 

The Metropolitan Opera’s now 29-year old production of Aida is still standing and still looking good. Gianni Quaranta’s gigantic sets – floor-to-sky-statuary, regal-looking staircases, a couple of horses, wise/exciting use of the stage elevator to change scenes (causing, unfortunately, a glitch the other night which delayed the final scene for a few minutes), costumes (by Dada Saligeri) mostly of

Lavish sets and costumes, plus high musical quality, make Tosca at the Vienna State Opera a fine example of grand opera. 

Bravo to the Haus am Ring for a bloody good night of music, drama and beauty – an excellent first première of the season.

Mario Martone's Cavalleria rusticana—Pagliacci returns to La Scala, with results that do not always convince. 

An attractive double bill of opera and zarzuela paves the way to a new way of performing this fascinating Spanish genre.