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In its tenth year and going strong, the biennial Éva Marton International Singing Competition fields an even level of talent in an entertaining finale. 

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

There are plenty of vocal thrills in Sir David McVicar's new production of Giordano's revenge thriller at the Metropolitan Opera.

In Verbier's Salle des Combins, despite the change of programme, Ambrogio Maestri and Maria Bayankina deliver stand-out performances. 

As Italy moves into a third lockdown, defiant operatic affirmations at the Teatro alla Scala. 

For the first Lied, we rediscover his velvet and rosewood timbre, so skilled at painting the chiaroscuro of the human soul.

Naples was the first Italian date for the conductor who is leading the CSO on a European tour which includes 10 concerts all over Europe.

A successful concert performance of Umberto Giordano's verismo hit in Sydney, with a trio of international stars. 

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

A terrifically strong cast gives a fine rendition of two lesser heard operas: Giordano's Mala vita Leoni's L'oracolo.

After her triumph at the Royal Opera House in London as Salome, Byström comes home to Sweden to great acclaim in Giordano’s opera.

A spectacular cast makes this Andrea Chénier the great event of the Liceu's opera season.

The biggest stigma associated with opera in Ireland is not that it is an elitist art form, but that it is not “Irish”, and that it doesn’t belong to Irish culture, more of a recent import, like pasta, or avocado.

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

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

A voice with the proportions of a cathedral; a higher register that's entirely secure; an attention to text. Rosenblatt Recitals gave a tantalising preview of a singer who will have a stellar career.

Anja Harteros shines in Umberto Giordano’s verismo opera, with a top class sound that trumps even Jonas Kaufmann’s comeback.

For her London recital debut, Sondra Radvanovsky offered a varied programme of ranging from Bellini to Barber, showing off the technique with which she has dazzled American audiences.

Confusion, lack of subtlety and volume issues beset the first Rosenblatt Recital of the year.

Beautiful singing at the Royal Opera House in Stockholm for the Scandinavian première of Giordano's Fedora.

Andrea Chénier returns to San Francisco Opera after a long absence, in Sir David McVicar's realistic production. 

A revival of a traditional staging,  with great singers and full of dramatic energy

Despite some strong performances onstage and in the pit, the National Theater's Andrea Chénier never catches fire.

A revival of a verismo rarity: Umberto Giordano's La cene delle beffe at La Scala. 

Opera North's Andrea Chénier at Leeds Grand Theatre directed by Annabel Arden is full of modern relevance and a fine start to the new season

Daniela Dessì and Fabio Armiliato make their role debuts in the first production of Umberto Giordano's Fedora at the Teatro Carlo Felice for 15 years. 

In this production of Andrea Chénier, love, liberty, revolution and death are all ingredients to create strong emotions: with a final ovation for the conductor.

Andrea Chénier can seem more a series of scenes than a dramatic whole and it relies on exciting, charismatic luminaries to hold it together and keep the interest high. This revival of Nicolas Joël’s staging is a noble effort, but disappoints.

Love and death are the two basic ingredients of the standard opera plot, and the more tragedy involved from the first to the last, the more likely it is to spur composers to set it to magnificent music. Andrea Chénier is a textbook example of this although it is not anywhere near as popular as La traviata, Carmen or La bohème, and explicably so.

Yesterday I went to see a convoluted story about French revolutionaries, as belted out at top volume to serviceable but hardly creative ballads. No, I didn’t go to the Les misérables movie. I went to see Roberto Alagna in Opera Orchestra of New York’s concert presentation of Umberto Giordano’s Andrea Chénier.

So viel wird selten geküsst! Michael Fabiano, Sonya Yoncheva und George Petean singen einen umwerfenden Andrea Chénier.

Le rare opéra de Giordano, inégal mais intéressant, fait son retour dans l'institution genevoise avec un plateau vocal de grande qualité, emmené par le duo Roberto Alagna-Aleksandra Kurzak.

À l'Auditorium de Lyon, les troupes de l'Opéra ont proposé bien plus qu'une simple version de concert du drame vériste d'Umberto Giordano, avec une Anna Pirozzi bouleversante.

La magia envolvió un recital en el que Sondra Radvanovsky fusionó su monumental talento vocal con sus experiencias vitales en interpretaciones sinceramente profundas.

Malgré l'absence du très attendu Jonas Kaufmann dans le rôle-titre, la production monégasque bénéficie d'une distribution de qualité, d'une direction musicale remarquable et d'une mise en scène efficace.

Mit Umberto Giordanos Fedora präsentiert die Oper Frankfurt eine weitere Rarität – dazu noch mit fantastischer Besetzung.

El tenor polaco Piotr Beczała ofreció en Las Voces del Real un recital bien construido en el que su bella voz lució entre repertorio italiano y polaco.

Lejos de ofrecer una lección completa de ese arte pluscuamperfecto del que la protagonista es capaz, Netrebko tan solo nos procuró un entretenimiento para para disfrutar con (su) familia y amigos.

Die Münchner Inszenierung des Andrea Chénier überzeugt mir großen Bildern, großartiger Musik und einer herausragenden Anja Harteros.

Anna Netrebko übertrifft in einer ansonst blass bleibenden Vorstellung von Andrea Chénier alle Überwartungen.

Jonas Kaufmann und Anja Harteros verleihen den Gefühlen in Giordanos dramatischem Werk eine große Wahrhaftigkeit.

Cette nouvelle production munichoise d'Andréa Chénier donnée en version concert au TCE a su convaincre par sa juste distribution et par la grande qualité de l'ochestre et des choeurs du Bayerische Staatsoper qui l'accompagnait. Bien que laissant quelque sentiment de frustration du fait de l'absence de mise en scène, cette oeuvre peu programmée ces dernières années ne perd en rien de sa force réflexive