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The Metropolitan Opera makes good on its promise to present more contemporary work, opening the season with Jake Heggie's gut wrenching tale of rage and redemption. 

Peter Mattei's smooth-as-silk baritone leads a handsome cast in the Metropolitan Opera's bleak new production of Mozart's great dramma giocoso. 

Don Giovanni returns to the Palais Garnier. The production by Ivo van Hove lacks energy but is wonderfully served by a cast of great young talents.

Best of all is the self-effacing pianism of Lada Valešová, a constant yet discreet onstage presence.

Pianist Lada Valešová was the anchor of the performance where Janáček's song cycle gets the van Hove treatment.

In Lyon, Daniele Rustioni drives through a pulsating reading of Macbeth, Ivo van Hove's imaginative setting not always fully backed by the vocal performances.

In an elegant new production by Ivo van Hove, Malin Byström portrays a graceful, erotic Salome and the RCO play with sensuous lyricism under Daniele Gatti.

Strong musical performances, but Ivo Van Hove’s Powerpoint presentation of Clemenza at the Teatr Wielki is out of focus.

Annie Proulx's love story between two men in rural Wyoming sees its opera première. Strong casting and an irregular score turn Spain into the capital of the opera.

At the end of the season, and before closing for the summer break, the Komische Oper Berlin reprise some of their most successful recent productions for one night only in the Komische Oper Festival, including the popular “cartoon” Magic Flute. Included in this busy week was a performance of Tchaikovsky’s Mazeppa, a rarely performed epic opera of battle-torn love and murder.

L'adaptation opératique du film d'Ingmar Bergman ne se distingue certes pas par l'originalité de sa musique mais n'en demeure pas moins une réussite, dotée d'une grande profondeur psychologique.

Ivo van Hoves nicht jugendfreie Inszenierung treibt Brechts moralischen Zeigefinger humoristisch (und erfolgreich) auf die Spitze.

Présentée à Garnier en 2018, la mise en scène fascinante d'Ivo van Hove est parfaitement adaptée à la nef de Bastille. Nicole Car se distingue dans une distribution remarquable.

Boris Godounov pour la première fois à Bastille dans sa version originale de 1869. Casting excellent, mais la transposition dans l'époque moderne souffre de dissonances avec le livret et la musique de Moussorgski.