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Gifted conductor Andrea Battistoni and a vocally seductive cast made this revival of Benedict Andrews’s flawed La bohème a musical triumph.

A woman, mother and outcast needs to make life choices in a hostile environment.

Despite some fine singing, Benedict Andrew's production of La bohème for English National Opera is devoid of heart. 

For his first collaboration with the Dutch National Opera, Australian director Benedict Andrews emphasizes the modernity of Puccini’s most popular opera.

Where could be more appropriate to see the story of Caligula, Rome’s most notorious emperor/self-proclaimed God, than in the Coliseum! Its purple SPQR livery made the opening to this performance all the more striking as Caligula, dishevelled, unhinged and not a little scary, crept on stage through the curtain in dead silence.

From the opening bars of the Overture of Opera Australia’s production of Mozart’s The Marriage of Figaro it was clear that this was going to be a production with a difference. As the orchestra began, the curtain raised to reveal a room, painted in brilliant white, with clothes rails at either end containing maids’ costumes.

ENO's latest première matches a young theatre director with a reputation for cutting-edge drama to one of the earliest operas in the repertoire, in the less-than-conventionally-operatic surroundings of London's Young Vic. It's an improbable combination, and I wasn't at all sure what to expect.

Im Gegensatz zu Benedict Andrews’ fast nihilistischer Beziehungssicht besticht Vladimir Jurowski in seiner ersten Münchner Mozart-Produktion durch feinen Klangintellekt.

Luca Salsi y Anna Pirozzi encarnan el matrimonio Macbeth en una satisfactoria producción ambientada en la actualidad.

Frissons et effroi à l'Opéra de Lyon autour du duo flamboyant Naouri - Stundyte.