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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.

Anna Netrebko triumphs at the Deutsche Oper in a concert performance of Cilea’s masterpiece, under the baton of Michelangelo Mazza.

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. 

Netrebko put together a potpourri showcasting her immense vocal gifts as well as her versatility.

Netrebko met the audience’s high expectations, as she does every time, conquering the challenges with her remarkable artistry. 

Anna Netrebko shines opposite Plácido Domingo in Harry Kupfer's uncertain new production.

And the new, Spring casting for David McVicar's new production of Tosca has an ace in the hole – Anna Netrebko – and she certainly did not disappoint. 

The Royal Opera's revival of Phyllida Lloyd's production is marked by two outstanding Verdian singers and a superb rendering of the score from Pappano and the ROH Orchestra.

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

Muti's reading of the score is extraordinary, both for its sophistication and originality.

Isabelle Patriot-Pieri's new production is a quirky mix of traditional and the opposite; Netrebko shows her star quality; Eyvasov impresses.

In April, Peter Mattei and Anna Netrebko were starring together in Eugene Onegin at the Metropolitan Opera. Less than a month later and they are reunited in Paris in Willy Decker's staging.

The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma.  Robin Ticciati led the Met Orchestra to probe a new depth of the score.

Netrebko's Violetta is now fuller in body and voice than in her former incarnation. Goodbye to the fresh-faced damsel we saw in Salzburg; hello to a larger-than-life courtesan in her twilight years.

Vienna stages an all-star new production of Verdi's classic, with sublime singing in Daniele Abbado's Spanish Civil War setting.

Anna Netrebko scored an unmitigated success in her first Manon Lescaut at the Met, almost obliterating director Richard Eyre’s and designer Rob Howell’s misconceived production.

A starrily cast performance of Puccini's early opera transcended the limitations of concert presentation to provide a very moving and musically rewarding account of the drama.

Too many paparazzi and not enough Puccini in Robert Carsen’s Manon Lescaut in Vienna.

Anna Netreboko chose to perform her first Elsa in Dresden with Christian Thielemann conducting.  It was a remarkable performance never to be forgotten.

It was an afternoon of pure delight as Anna Netrebko presented a full program of Russian art songs acompanied by an excellent pianist colleague.

Despite the sombre staging, it’s the vocal fire that blazes in this impressive Trovatore in Paris.

Verdi's take on the Joan of Arc story may be thin on drama, but outstanding playing from Riccardo Chailly and the La Scala orchestra and top notch singing from Netrebko, Meli and Álvarez make this a wonderful Verdian evening.

Tchaikovsky’s passionate drama is put into the deep-freeze by chilly stage designs.

David McVicar's six-year old production of Il trovatore returns to the Met with a starry cast:a model of clarity and mood compared with the Met’s previous staging.

Joseph Calleja and Anna Netrebko show off their vocal qualities, leading a star cast above an uninspiring orchestral performance in John Copley's Royal Opera production of La bohème in what is to be its last season.

Warlokowski's staging of Eugene Onegin for the Bayerische Staatsoper works from a bold premise: Onegin is gay. Strong musical and dramatic performances keep the concept coherent and interesting, but it ultimately doesn't convince.

A rich showcase of bel canto Romantic tragedy, this renewal of the Giancarlo del Monaco production made a vehicle for insights into jealousy, conscience, and deviousness “on a Royal scale”.

The Met's première of Iolanta and Bluebeard's Castle, delayed by snow, opened with powerful singing and deeply effective staging. Iolanta showcased beautiful singing from the principals, while Bluebeard's Castle showed off brilliant playing by the Met Orchestra.

A triumphant opening night was crowned by superb performances from Željko Lučić and Anna Netrebko as Macbeth and his Lady. But why the negative audience reaction to Adrian Noble's intelligent production? 

Released from the pit of the opera house, the Staatskapelle Berlin deliver a thrilling performances of Strauss's Heldenleben, led by Daniel Barenboim with soloist Anna Netrebko soloist in the Four Last Songs.

Anna Netrebko makes a glorious role debut as Lady Macbeth in a revival of Martin Kušej's jumbled production of Verdi's first Shakespeare opera.

Read our review of Laurent Pelly's production of Massenet's Manon in its 2012 broadcast from the Met Opera in New York.

Celebrating the 100th anniversary of Benjamin Britten’s birth, Antonio Pappano led the Accademia Nazionale di Santa Cecilia Orchestra and Choir, together with first-class soloists, in an intense performance of the War Requiem.

This past Saturday night at the Lyric Opera of Chicago, opera superstars Anna Netrebko and Joseph Calleja successfully transformed an otherwise ordinary, four-star La Bohème at the Lyric into an extraordinary, five-star experience.

Read our review of Bartlett Sher's production of Rossini's L'Elisir d'Amore in its 2012 broadcast from the Met Opera in New York.

When Salzburg Festival director Alexander Pereira stepped onto the stage of the Großes Festspielhaus last night to announce that one of the cast members of La bohème was sick and unable to sing, he faced a chorus of hisses from the audience. Soprano Anna Netrebko, the festival’s biggest non-conductor star, was feeling fine (though as Mimì she would shortly die of consumption).

Read our review of David McVicar's production of Donizetti­'s Anna Bolena in its 2011 broadcast from the Met Opera in New York.

Read our review of Maria Zimmerman’s production of Verdi's Lucia di Lammermoor in its 2009 broadcast from the Met Opera in New York.

Read our review of Guy Joosten's production of Gounod­'s Roméo et Juliette in its 2007 broadcast from the Met Opera in New York.

Anna Netrebko gibt an der Bayerischen Staatsoper ein vielschichtiges Debüt als Turandot. Der Abend bleibt dennoch durchwachsen.

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.

Langeweile gibt es bei Anna Netrebkos Liederabend bei den Münchner Opernfestspielen auf keinen Fall.

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

Anna Netrebko und Piotr Beczała brillieren unter dem eleganten Dirigat von Evelino Pidò. Ein Pflichttermin für Diven-Verehrer und Freunde opulenter Ausstattung.

Zwei kurzfristige Umbesetzungen und ein blasses Regiekonzept: Statt feuriger Saisoneröffnung mit Glamourfaktor loderte lediglich ein guter Repertoireabend. 

Anna Netrebkos und Piotr Beczalas Lohengrin-Debüt unter Christian Thielemann an der Semperoper bringt das Haus zum Beben.

Salzburger Wiederaufnahme mit starker Leistung von Anna Netrebko und Ekaterina Semenchuk zu Recht ausverkauft.

Dans le cadre des Nuits de l'Orangerie, Anna Netrebko avait concocté le 4 juillet un programme d'opéra italien quasi en famille, à destination de ses nombreux fans : ceux-ci n'ont pas été déçus.

Pour son unique apparition à Paris cette saison, Anna Netrebko a déployé dans les Quatre Derniers Lieder de Richard Strauss une vocalité impériale mais n'a pas réussi à émouvoir. Dans Berlioz et Prokofiev en revanche Daniele Gatti était plus inspiré.