Three sopranos and three tenors express a catalogue of "affections" in musical numbers full of coloraturaand virtuosic effects that are already 100% Mozart despite the young age of the composer.
Philip Glass' hypnotic opera returns in Phelim McDermott's outstanding production that respects the solemn, statuesque grandeur and epic ritual of the score.
Amanda Majeski is magnificent in the title role; Ed Gardner shows total master of Janáček's music. But that's not enough to rescue a poorly thought out Richard Jones production.
Sir Roger Norrington and a strong cast joined a Baroque-style London Philharmonic Orchestra in a highly accomplished Dido and Aeneas, preceded by Handel’s clean and stately Water Music.
Seven years after their production was voted as “production of the year” at Oper Stuttgart, Jossi Wieler and Sergio Morabito's La sonnambula opens in Berlin.
Floris Visser’s staging transforms Vivaldi’s biblical oratorio into a credible wartime drama. The young cast is proficient, and La Cetra Baroque Orchestra, conducted by Andrea Marcon, nothing short of miraculous.
Climate change, challenged egos and a strange Ice woman tell a gruesome tale in Anthropocene, a finely sung new opera from Stuart MacRae, with libretto from Louise Welsh, set in the Arctic with a cinematic score.
On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.
Commedia dell'arte and zany surrealism: RCS opera school pulls off a highly amusing double bill of Gianni Schicchi and Les Mamelles de Tirésias with style.
Jonathan Dove's new opera is a comedic romp with clever lyrics set to wonderful contrasting music, though a more nuanced actor as Karl Marx could have better brought out the philosopher's amusing contradictions.
Amber Wagner delivers a thrilling performance in Opera Australia's revival of Graeme Murphy's Turandot – a spectacular feast for both the ears and eyes.
The world is sinking in "Violet Snow", as the opera by Beat Furrer, directed by Claus Guth, is given its world premiere at the Staatsoper unter den Linden.
Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.
While Bellini’s two-act opera Norma underscores the religious wars between the ancient Druids and Romans, it also highlights an emotive personal conflict that is veiled in deceit and cultural discrepancy.
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.
This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.
25 years after its creation in Bayreuth, Director Heiner Müller's legendary production of Tristan und Isolde was recreated and presented in Linz with committed performers with great success.
In Georges Bizet’s Les pêcheurs de perles, two men’s vow of eternal friendship is threatened by their love for the same woman. Only one man lives to tell the tale.
Gorgeous playing under Sir Mark Elder wasn’t enough to mask the lack of theatrical drive in the scrupulously cast Dutch premiere of Delius’ most successful opera.
Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.
