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Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 

Strong singing and a punchy orchestral performance makes this latest revival of Donizetti's cheering village rom-com a hit.

This year’s revival of Andreas Homoki's production features excellent principals, choruses, and sublime orchestration under Fabio Luisi’s seasoned baton. The staging takes far fewer accolades.

In Il turco in Italia, Gioachino Rossini’s command of spiritedness and musical timing is well matched by the plot of lovers’ infidelities.

Herheim pulls us in unexpected directions, makes us laugh and makes us think as we enjoy fine Rossinian music and singing in Opéra de Lyon's production.

The inventiveness of Ruth Berghaus' classic staging is a clear as ever, even if this revival occasionally loses focus.

Questionable identities, clandestine messages, love and money are the stuffs of Gioacchino Rossini’s Il barbiere di Siviglia, revived again in Zurich.

Lisette Oropesa gives a coloratura star turn; Renato Girolami and Andrey Zhilikhovsky give the buffo patter; Mariame Clément's staging focuses on the work’s dark side.

The charm of Gaetano Donizetti’s spirited two-act L’elisir d’amore lies in its mixture of sharp comedy and poignant pathos. Zurich gave us just that.

With his first foray into Rossini, Norwegian director Stefan Herheim turns La Cenerentola into a brilliantly funny spectacle, filled with thought provoking humour and outstanding singing.

There's much to recommend this Turco, including stunning vocal fireworks by Olga Peretyatko and moments of comedic gold in the staging. But this production also reinforces some ugly racial and gender stereotypes.

Martin Kušej’s modern production of La forza del destino emphasizes that familial and religious oppressions can be one and the same, destroying the love of free spirits.