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The pairing of controversial director and bad-boy conductor brings some thrills but the Salzburg Festival's new Don Giovanni proves disappointingly uninvolving. 

After a few streamed events with chamber forces, the full orchestra and chorus returned to the House – albeit not in their usual positions – for an entertaining fundraising gala.

Graham Vick stages his Marriage of Figaro in todays vulgarity, but he is not fully convincing.

The delightful farce in one act in a new, imaginative production inspired by Lewis Carroll.

Dismembered after the 1840 bankruptcy of its promoter, Opera Rara's decade-long reconstruction has resulted in a beautifully constructed opera that's enjoyable throughout.

Nicola Raab puts Byron at the heart of Il corsaro in her new production for the Palau de les Arts, but doesn’t always know what to do with him.

A positive debut as stage director for soprano Stefania Bonfadelli in Verdi's early comic opera.

For the latest revival of Moshe Leiser and Patrice Caurier's candy-striped production, the Royal Opera serves up the operatic equivalent of stodgy semolina.

In Paris, Russian enfant terrible reunites Iolanta with The Nutcracker... with wildly mixed results. 

A star-studded cast headlined by Isabel Leonard and Lawrence Browlee share a hilarious production of La Cenerentola – complete with rat ballet corps!

On a balmy evening in Milan, there was anticipation in the air as queues stretched way back for a sold out performance of Carmen. But a flat atmosphere soon fell in the auditorium itself, with lacklustre singing and confused staging to blame.

In a very silly production of Rossini's La Cenerentola at the Staatsoper, the cast takes a while to warm up, but are irresistably charming in full form.

Elena Barbalich's mis-en-scene for Le nozze di Figaro in Turin seemed a swirling game of Chinese boxes, but the vocal performances were full of vitality. 

With this mesmerising version of Les contes d'Hoffmann, Marthaler has proved (as Offenbach did more than one century ago) that it is possible to love Romanticism through its satire. 

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

Every year, Glyndebourne brings an opera from their festival to the BBC Proms and adapts it to the Royal Albert Hall stage. This year they brought their hottest production of the summer, The Marriage of Figaro (directed at Glyndebourne by Michael Grandage and adapted for the Proms by Ian Rutherford), and it was wonderful to see the Albert Hall packed to rafters.