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Tenor-turned-director José Cura transplants the action from southern Italy to Buenos Aires. 

One wonders why Emma Dante's concept, which explores the plight of women crushed by romantic catastrophes, is not done more often.

The return of the Met's Aida was a joyous celebration of the art form with excellent singers and orchestra doing what they do best against the backdrop of a traditional but effective staging.

A revival of a verismo rarity: Umberto Giordano's La cene delle beffe at La Scala. 

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.

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

Zurich recently brought a new cast to Robert Wilson’s production of Vincenzo Bellini’s Norma, a triumph of the bel canto style.

San Francisco Opera opens its 92nd season with Bellini's Norma starring Sondra Radvanovsky as Norma and Jamie Barton as Adalgisa.

A great singing cast and an excellent conducting for the unveiling of Otello's ghosts in Naples.

It’s no surprise that Turandot is one of the most performed and best loved operas of all time, coming in at number 15 in the Operabase league table. Its beautiful music and lavish orchestration, along with its very exciting and exotic story are what operatic dreams are made of.

Puccini's Il Trittico, performed last night at the Opéra Bastille in Paris, is a unique item in the repertoire: a series of three one act operas with little to link them except the composer's conceit of what would work together in an evening. Each opera clocks in at something under an hour, and despite the relatively short duration, each has plenty of time to develop its characters.

El Gran Teatre del Liceu cierra la temporada con Il trovatore, de Verdi. Las grandes voces de Ruciński y Cornetti dirigidos por Callegari y junto a la Orquesta del Liceu son el centro de una producción que conecta la historia de Manrico con la figura de Goya.

Proposition étonnante, la programmation des deux oeuvres dans une même soirée fait le pari des contrastes, mais parvient difficilement à se tenir à distance d'un traitement narratif très vertical et moralisateur.

Sans oser de comparaison avec Maria Callas et Montserrat Caballé, force est de reconnaître en Maria Agresta la grande Norma de notre époque, une immense Norma.