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For La Scala’s prima, outstanding vocal performances light up a busy but interesting staging of Verdi’s revenge opera by Leo Muscato.

Dans la reprise de l'éternelle mise en scène de Bob Wilson, la distribution est de très haut niveau. La soprano italienne marque les esprits pour ses débuts à l'Opéra de Paris.

La soprano albanaise confirme qu'elle est l'une des meilleures Cio-Cio-San de l'histoire du rôle, accompagnée par un Orchestre de l'Opéra de Lyon en grande forme. La mise en scène, en revanche, déçoit.

La mise en scène de Bob Wilson se confirme comme l'une des grandes réussites de l'artiste américain dans le domaine lyrique. Servi par une distribution de premier ordre, le spectacle est un magnifique succès.

Christof Loy's 2019 production proves even more compelling second time round, with excellent acting and a properly heroic tenor performance from Brian Jagde.

Le baryton français incarne corps, voix et âme le personnage maléfique de l'Otello de Verdi, dans une version de concert mémorable donnée au Grand Théâtre de Provence.

Beau succès pour cette reprise de La Force du destin à l’Opéra Bastille, notamment grâce à Anna Pirozzi qui, remplaçant Anna Netrebko, interprète une magnifique Leonora.

A mixed bag of performances at Covent Garden, but with an outstanding Butterfly who brings ample rewards to an evening where the emotional temperature eventually soars.    

Une distribution un peu terne n'entache nullement le succès de la nouvelle Turandot proposée par l'Opéra de Paris, accueillie au rideau final par une standing ovation.

Omer Meir Wellber conducts a spirited account of Verdi's early opera, semi-staged and live-streamed from the Teatro Massimo.

Anna Netrebko chews the scenery as Floria Tosca… and there’s a lot of it to get her teeth into in David Livermore’s busy staging in Milan.

Christine Goerke gives a thrillingly fleshed-out performance as the princess Turandot that is everything one wants opera to be.

Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. In the title role, Lisette Oropesa demonstrated elegant and incisive singing, while Michael Fabiano was her virile and powerful partner.

The French-Sicilian tenor shines in Sir David's McVicar's pristine take on Umberto Giordano's slice of verismo. 

Short of the three lead stars of its opening, The Royal Opera's La forza del destino remains a thrilling evening, powered by Christof Loy's interesting staging and virile singing from Christopher Maltman.

The hottest opera ticket in London this season sees Jonas Kaufmann and Anna Netrebko reunited on the Royal Opera House's stage for the first time since 2008. It was worth the wait. 

Although Adriana Lecouvreur could never be referred to as one of the world’s greatest operas, Anna Netrebko, Anita Rachvelishvili and Piotr Beczała give it the star treatment at the Metropolitan Opera. 

The audience for The Met's first performance of La fanciulla del West this season arrived loaded for bear. Not only were they disappointed that Jonas Kaufmann was not singing (he's slated for shows starting 17th October), but their disappointment was heightened by the fact that tenor Yusif Eyvazov was singing.

Sir Bryn Terfel’s Falstaff is still a cherishable rogue as he takes on the title role in Robert Carsen’s joyous staging at the Royal Opera. 

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

The Iván Fischer Opera Company makes a triumphant foray into Verdi's oeuvre.

The big season opener at La Scala offers few surprises in a traditional staging, although Yusif Eyvazov proved his worth in the title role. 

An able cast sings in Christof Loy’s non-interventionist and insightful production of Verdi’s panoramic tragedy, conducted with vivid detail by Michele Mariotti.

The staging highlighted Carmen’s rebellious traits more than her sensual exoticism.

Ermonela Jaho sure likes to put herself (and us) through the emotional wringer on Covent Garden's stage. This time, London finally got to see her as another tragic Puccini heroine: Madama Butterfly.

The 2013 Salzburg production of Damiano Michieletto's Falstaff finally arrives in Milan where the director sets the opera in “Casa Verdi”, the Milanese residence for elderly singers and musicians.

A beautiful production by Alvis Hermanis of Madama Butterfly to open La Scala's new season, but it was Riccardo Chailly's presentation of Puccini's original 1904 score which caught the ear. 

Très attaché à la représentation picturale, Pierre Audi signe ici une mise en scène relativement classique, efficace, laissant libre champs à l’attention portée aux voix plutôt qu’aux divers éléments qui composent les décors, très figuratifs.

Ouverture en grande pompe de l'édition 2016 des Chorégies d'Orange avec une Madama Butterfly de haute tenue. 

La Scala might not have had all the right cards in its garter Tuesday night to prevent ending up holding aces and spaces, but it’s hard to play without a full deck in the first place.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

The story still remained moving and the performance was musically pleasant, but the staging did not convince overall

La nouvelle production de l’Opéra Bastille marque par la qualité du plateau vocal et la beauté des costumes

Riccardo Chailly kicks off his interim role as Principal Director at La Scala with Turandot, featuring Luciano Berio's ending, a score he knows like the back of his hand. 

Kristine Opolais offers a nuanced, moving Cio-Cio-San in a solid revival of Moshe Leiser and Patrice Caurier’s sepia and cream production of Madama Butterfly at the Royal Opera.

À travers la nouvelle mise en scène de Pierre Audi, l'oeuvre de Puccini prend une dimension singulièrement symbolique. Le tout servi par une distribution remarquable.

Ambrogio Maestri reprises his star turn as a vocally and theatrically complete Falstaff in Robert Carsen’s lavish, food-fuelled situational comedy at the Holland Festival.

In the end, the big man gets the last laugh. Come to think of it, he also gets the first laugh, but for different reasons: you sense that Verdi steadily grew to love Falstaff in the course of writing the opera, as he turns from a coarse buffoon into a maligned old man and, eventually, into the spirit of laughter itself.

On Saturday night, Antonio Pappano and his Roman orchestra and chorus, the Accademia Nazionale di Santa Cecilia, brought us the first opera of the 2011 Proms- Gioachino Rossini's William Tell.