En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Ekaterina Sadovnikova

A beautiful 17th-century setting does nothing to dim the freshness and relevance of Sir David McVicar's production for Opera Australia.

Here was the much-loved three-act opera Rigoletto, yes, but chances are, it was one far beyond Verdi’s wildest dreams.

Promising young South-African director Alessandro Talevi opened the new season at the Teatro La Fenice with a new mis-en-scene of Mozart's Idomeneo.

Following a string of misses, the Theater an der Wien emerges from its recent dry patch with a new production of Puccini’s triptych which offers a winning cast, the best playing heard at the house in months, and a smart production.

The Canadian Opera Company’s second offering for its 2011-2012 season is Verdi’s ever-popular Rigoletto. It comes on the heels of Robert Carsen’s stunning production of Iphigenia in Tauris. In Carsen’s brilliant conception of the opera, everything works to produce a great night of opera By contrast in Christopher Alden’s production of Rigoletto just about nothing works.

Rigoletto is what an opera promoter might describe as a "banker": it's a safe bet to get those seats filled and keep the audience happy. There's a rare blend of gorgeously beautiful music allied to darkly nasty drama that gives the opera enormous, continuing appeal.