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George Saunders’ prize-winning novel moves from page to stage in Lileana Blain-Cruz’s genre-defying, visually breathtaking and surprisingly cheerful production of Missy Mazzoli and Royce Vavrek’s operatic adaptation.

A concert spanning the American opera composer’s career, features better known selections alongside more rarely heard arias and excerpts from six different works.

Lara Downes and Yannick Nézet-Séguin offer the subscription debut of Price's Piano Concerto in One Movement, followed by the ultimate crowd pleaser, Beethoven's Ninth.

The Metropolitan Opera makes good on its promise to present more contemporary work, opening the season with Jake Heggie's gut wrenching tale of rage and redemption. 

Boston Lyric Opera decamps to a 1919 wharf shed for a production of Bartók's eerie two-hander, framed by four of Alma Mahler's songs. 

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

Andris Nelsons conducts a brisk, but pliant performance of Mozart’s dramma giocoso with a fine cast at Tanglewood. 

Mezzo-soprano Jamie Barton seemed to have a lot of fun taking up the role of Julia Child once again. 

Lots of people talk about keeping opera relevant. WNO shows why this opera always has been.

Despite its enigmatic details, Bayreuth's Parsifal reaches a cathartic climax. 

Mahler's Eighth was the composer’s “gift to the nation”; Dudamel’s performance was a gift to Los Angeles. 

Dame Shirley’s texts are here sung by the young American soprano Julia Bullock whose pliable instrument and stylish way with words reveal an ideal storyteller.

Adams and Peter Sellars demand that the audience take a cold, hard look at the Gold Rush and the founding history of California.

With Andris Nelsons' withdrawal from Bayreuth last year, the BSO’s summer home, Tanglewood, became the venue for his Wagner with a concert performance of Das Rheingold

With its monumental sets designed by Anish Kapoor, Pierre Audi’s abstract Parsifal at Dutch National Opera is spectacular, led by the excellent Christopher Ventris, with Günther Groissböck shining in his role debut as Gurnemanz. 

With the many glories of the score and the easy butts of class and marital comedy, it is hard not to be pleased by a Figaro performance, although tonight’s did not sparkle as much as it might have. 

Uwe Eric Laufenberg sets his new staging of Wagner's final opera among the persecuted Christians of the contemporary Middle East – but avoids preaching.

Tonight’s Götterdämmerung brought the cycle to a fitting – and wholly American – conclusion. 

Das Rheingold stages flawed American Ambitions in the first Ring Cycle in Washington DC. 

In director Daniel Slater’s production at Santa Fe Opera this summer, Freud is God, and a biblical saga of lust, incest and murder is presented through a Viennese, turn-of-the-century lens. 

Excellent singing and a stunning debut win out over relentlessly clever visual effects.

If an evocative and provocative crowd-pleaser is your preferred summertime fare, then catch the new production of Wagner’s The Flying Dutchman at Glimmerglass Festival.Dutchman was Wagner’s first unabashed hit, deservedly so. It is a classic tale of redemption through love, masterfully scored, inspired by a stormy voyage the composer himself made and Heinrich Heine’s retelling of the legend.

Among the brilliant programming of The Rest is Noise festival in London, there was one concert this year that stood above all the others for me: the European première of Shostakovich’s opera prologue Orango. First discovered in an archive in 2004 by scholar Olga Digonskaya, Orango was never finished by Shostakovich, and indeed only a piano score remained.

Peter Sellars successfully updated the ancient magic in Wagner’s opera Tristan und Isolde. Wagner had already modernised the medieval tale by focusing on the middle of the story, where the passion of the doomed lovers catches fire. Wagner treats the mythic origins of the romance as back-story recollected while passions are flaring.

A mid-19th-century Italian opera with the sound of the human voice front-and-center, and seemingly dependent on the trappings of the theater.

Handel’s opera Radamisto received a welcome staging at the English National Opera last Thursday, following on from their successful productions of Agrippina and Partenope in recent years.

Precedida por una gran atención mediática, el templo wagneriano estrena producción de su obra más propia. Un propuesta en la que destacan las voces y que resulta superficial a pesar de sus ambiciones.