Joshua Bloom and Paula Murrihy excel in Irish National Opera's staging of Bartók's opera, although director Enda Walsh takes too many liberties with the libretto.
I puritani returns to Barcelona’s Liceu with Annilese Miskimmon’s production. Javier Camerena and Pretty Yende lead the inauguration of the season with a fine example of romantic bel canto.
Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.
The Royal Swedish Opera produces a new work based on a 1977 novel by Angela Carter, brought to life by composer Jonas S. Bohlin, librettist Torbjörn Elensky and visual artist Ann-Sofi Sidén.
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.
Nuremberg's opera house launches a new directorial era with an impressive staging of Prokofiev's adaptation of Tolstoy's great novel that incapsulates 200 years of Russian history.
Since their creation in 2010, NIO has brought unconventional opera productions to Northern Ireland. Their Rigoletto is bold, emotional and engaging with a stellar cast of local and international talent.
Michael Volle and Klaus Florian Vogt demonstrate that they are indeed master singers in Munich, despite adversity, in a revival of David Bösch's contemporary production.
Traditionally, Italy's most unforgiving loggionisti are reputed to reside at Parma's Teatro Regio. Thankfully for the cast, they appear to be a dying breed.
Robert Carsen's Eugene Onegin was binned by the Met but works wonderfully in its revival by the Canadian Opera Company COC with high class singing and acting from a young, engaging cast.
In Bérénice, given its world première at the Opéra Garnier, composer Michael Jarrell revisits Racine's refined tragedy with the help of the inspired voices of Barbara Hannigan and Bo Skovhus.
Verdi's fifth opera can be considered a blueprint for Trovatore and deserves a more regular place in the repertoire, but it needs more sincere advocacy than Bechtolf is prepared to grant.
Voltaire and Bernstein's wilful political incorrectness make Candide a challenge to behold, but the Sydney Philharmonia meets them in a concert performance in the opera house.
Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.
It's a big night at the Opéra Bastille for their 350th anniversary season; Oropesa's dazzling coloratura stops the show; Andreas Kriegenburg sets the action interestingly in a Star Trek future.
Debussy’s Pelléas et Mélisande emerges from an almost transcendent realm and creates a languorous atmosphere, even if it leaves some questions unanswered and realities unexplored.
We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.
A debuting conductor, two new singers, and a fine ensemble of singers bring unexpected joy to the Met's traditional La bohème with fresh and youthful energy.
Antonio Pappano and the Royal Opera Orchestra get the Ring cycle off to a blazing start; unusually, it's Lise Davidsen and the female cast who take the vocal honours.
Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works.
Despite a great cast led by Marina Rebeka, La Fura dels Baus's unambitious approach to the myth of Faust and Dan Ettinger's noisy conducting prevent a brighter season opening at the Teatro Real.
