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Janáček’s drama of infanticide is delivered at full power by Nina Stemme and Agneta Eichenholz in Annilese Miskimmon’s well-crafted production. The orchestra, however, are just too loud.

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

The Kungliga Operan presents a stagnant production of Verdi’s masterpiece, with a competent cast comprised mostly of Swedish singers.

Grigorian returns to Stockholm in a wonderful performance of Madama Butterfly, with young, upcoming tenor Migran Agadzhanyan as Pinkerton in a 2014 production by Kirsten Harms.

Young soprano Cornelia Beskow impresses as Tatyana in an all-Swedish performance of Tchaikovsky’s masterpiece.

Under elegant leadership of conductor Harry Bicket, the Met's revival of the "Marriage of Figaro" succeeds with a strong ensemble of cast.

A frightyfully enjoyable world premiere of Victoria Borisova-Ollas first opera, turned into a giant Halloween party, where the Kungliga Operan is invaded by an audience of vampires, emaciated Victorian ladies and sinister characters.

Ragnarök: the Swedish title for Götterdämmerung resonates with Old Norse folk memories of universal inundation and overthow of the order of the gods.

A performance of Wagner's Siegfried stands or falls by its titular hero and Lars Cleveman is highly experienced. 

Stemme as Brünnhilde delivered her opening battle cry in Victorian riding habit like one of Trollope's racier fox- hunting heroines.

John Lundgren, bullet-headed, youthful and overbearing, gave a world-class performance as Wotan. 

Leonardo Capalbo makes a successful debut in Tobias Theorell’s minimalistic production of Un ballo in maschera in Stockholm.

Does it really matter where an opera is set? These days, this question seems to trail Rigoletto.