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For the 84th edition of its summer festival, the Teatro del Maggio Musicale Fiorentino presents its first ever production of Gounod's Roméo et Juliette.

Sven-Eric Bechtolf's staging holds a balance between philosophy and humour, but Adam Fischer's vivacious conducting is the real star of the evening.

Contrasting sensations at the Liceu, where the audience punished a production of La bohème with boos and gave rapturous applause to a cast that performed at half throttle.

Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.

Jean-Louis Martinoty’s scenically seductive Don Giovanni comes as a welcome relief from recent Regietheater aberrations. 

Marble and solitude: Willy Decker's view of La clemenza di Tito is revived with a strong cast at L'Opéra de Paris.

According to director Sven-Eric Bechtolf,  Don Giovanni’s divine retribution for a life of pure evil and insatiable fornication is just more of the same.

Despite Angel Blue and Ryan Speedo Green, this revival of Franco Zeffirelli’s classic production lacked vocal colour.

Klaus Florian Vogt’s Florestan redeems an otherwise disappointing Fidelio in Otto Schenk's timeless production.

Shadow puppet serpents and policemen in tutus: Moshe Leiser and Patrice Caurier's production of Die Zauberflöte is graced with a strong cast. 

What has made Rossini and his librettist Jacopo Ferretti’s take on Cinderella survive on the opera stage for almost 200 years now is not only the universal archetype of the downtrodden girl who is redeemed by Prince Charming, nor its enchanting music: the absence of fairy-tale symbols like the pumpkin carriage and the glass shoe (barefoot ladies would have been too outrageous a sight on an Italian

L’opéra Iolanta et le ballet Casse-Noisette sont réunis dans une co-création d’envergure qui rassemble les talents du scénographe Dmitri Tcherniakov et des chorégraphes Sidi Larbi Cherkaoui, Edouard Lock et Arthur Pita.

Moshe Leiser und Patrice Cauriers Inszenierung ist repertoiretauglicher als die Polizei erlaubt, die in dieser Inszenierung mit Tutu statt mit Tatütata auftritt.

An einem gesanglich enttäuschendem Abend waren Speranza Scappucci und das Staatsopernorchester das rettende emotionale Element.

Malgré quelques imperfections, cette Veuve Joyeuse mérite qu’on s’y intéresse, ne serait-ce que pour la joie qu’elle distille en cette rentrée plutôt morose.

Michele Pertusi, Juan Diego Flórez, Alessio Arduini und Valentina Naforniţă machen das Beste aus der bunten Neuinszenierung von Irina Brook, die sich ansonsten auf Pointenmanagement beschränkt.