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A luxuriously-cast revival takes a staid production of Mozart's Idomeneo to new, exciting heights. 

The Canadian director's aesthetic is a perfect fit for Gluck's work. Dazzling performances by Gaëlle Arquez and Stéphane Degout. Great musical direction by Thomas Hengelbrock.

Everyone is in the know in Jan Philipp Gloger's “School for Lovers”, receiving its first revival at Covent Garden. 

An epic night at the opera with Joyce DiDonato, which will be hard to forget.

Dudamel and the Los Angeles Philharmonic unleash the darkness of Verdi’s late masterpiece Otello upon the picnickers at the Hollywood Bowl. 

An overpowering orchestra and unusual stage layout contribute to a disappointingly even-tempered Stabat Mater.

The Staatsoper's new Falstaff is a production that is attractive not only visually, but also in terms of the varied musical color.

According to director Sven-Eric Bechtolf,  Don Giovanni’s divine retribution for a life of pure evil and insatiable fornication is just more of the same.

Early Mozart opera seria triumphs in Vienna’s ‘other house’.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

To celebrate its 50th birthday Dutch National Opera put on a festive tribute to the people that have made it the innovative and much-admired house it is today.

The two Danieles – Gatti and Abbado – triumphed in the final opera of the 78th Maggio Musicale Fiorentino, with a heavenly new production of Debussy’s Pelléas et Mélisande.

Ambrogio Maestri reprises his star turn as a vocally and theatrically complete Falstaff in Robert Carsen’s lavish, food-fuelled situational comedy at the Holland Festival.

Like Falstaff, I found myself attempting to gobble up as much as I could: the amusing story, Robert Carsen's resourceful directing, and the brilliant music. In addition to the strong instrumental performing, the singing was, on the whole, delightful.

Following a string of misses, the Theater an der Wien emerges from its recent dry patch with a new production of Puccini’s triptych which offers a winning cast, the best playing heard at the house in months, and a smart production.

Dans une production toulousaine de 2001, l’opéra de Donizetti revient sur les planches du Théâtre du Capitole et marque essentiellement par la belle composition du duo Paolo Fanale – Vannina Santoni.

Difficile exercice que celui du drame lyrique pour deux Prima Donna qu’est Maria Stuarda. Il ne fallait pas moins que le talentueux duo constituait de la soprano lettone Marina Rebeka et de sa sœur de scène l’italienne Carmela Remigio pour donner ses lettres de noblesses à ce modèle de bel canto qui n’avait pas été donné sur les planches de l’Opéra de Rome depuis 2006.

Eminent choix de programmation que d’adjoindre à l’attendu Stabat Mater de Rossini l’amène Symphonie n°3 de Schubert et, surtout, l’inédit Chant Funèbre de Stravinsky, retrouvé en 2014 à Saint Pétersbourg et ici en création.