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This first-time Neapolitan performance of Gounod's masterpiece is destined to leave a lasting impression in the audience's memory.

The French director updates the action to the present day, underscoring the validity of the plot – feuding families and class differences are still relevant. 

A visually captivating and lyrically authentic production by Doug Scholz-Carlson for the Lyric Opera of Kansas City.

Benjamin Bernheim and Nadine Sierra are a must-see pairing in the Met's revival of Bartlett Sher's production of Roméo et Juliette. 

The English theatre directs turns his hand to opera with a staging of Gounod's take on Shakespeare's star-crossed lovers. 

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.

Stephen Barlow's intelligent production makes Gounod's grand opéra as dramatic as it is tuneful.

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

Philadelphia’s Academy of Vocal Arts Presents Gounod’s *Roméo et Juliette* with a fine young cast at the Haverford School. 

Olena Tokar's assured coloratura made an immediate success of the waltz with her convincingly adolescent appearance, rhythmic verve and stylish phrasing.

Bartlett Sher's production of Gounod's Romeo et Juliette returns to the Met. 

Vittorio Grigòlo and Diana Damrau repeated and cemented their intense on-stage relationship at the Met in Bartlett Sher's new production of Roméo et Juliette.

Santa Fe Opera presented Gounod’s Roméo et Juliette in Stephen Lawless’ mid 19th-century staging, a co-production with Barcelona's Liceu. Before the overture, General Director Charles MacKay came onstage to announce that Stephen Costello was ill and would be replaced by Joshua Guerrero, a graduate of the Los Angeles Opera Young Artist Program.

Opera Hong Kong’s Roméo et Juliette: a gigantic effort marred by confused artistic vision and irritating production choices.

With a Slovak team at the helm, the National Theater offers a smart, fresh take on a familiar story.

If the production is full of pleasures, they do not immediately or obviously connect to a sense of some larger plan, which might have been helped along with a more dynamic set.

School’s out for summer and with it the opportunity for the Royal Opera’s Jette Parker Young Artists to showcase their talents in the end of term main stage performance. 

Gounod’s Roméo et Juliette attracted a large audience for a concert performance from Madrid, enticed by Roberto Alagna's Roméo.

Opera Company of Philadelphia (OCP) reached into the Philadelphia community with its remake of Gounod’s Romeo and Juliet, the second of five shows in the 2010-11 season. In his OCP debut, Italian director Manfred Schweigkofler gave the company a chance to recast a Renaissance-era tale of two Italian families bearing ancient and deadly grudges as warring fashion houses in 21st century Verona.

Gounod's Roméo et Juliette isn't exactly a rarity, but it is no longer one of the stalwarts of the opera repertoire, a position which it certainly occupied during the Victorian era (there were 102 performances at the Théâtre-Lyrique in Paris in the first year of its life, followed by 291 performances at the Opéra-Comique in the next twenty).

Read our review of Guy Joosten's production of Gounod­'s Roméo et Juliette in its 2007 broadcast from the Met Opera in New York.