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John Doyle's emotional staging of Werther gets to the heart of Massenet's engagement with Goethe in memorable performances.      

Bieito’s vivid production of Bizet's most famous work is a classic; his attack on toxic masculinity is visceral, made more potent by an excellent leading pair of singers.

A well-sung, traditional production of Carmen opens the season for the Lyric Opera of Kansas City.

Colorful sets and lavish costumes greet Seattle audiences as live opera finally returns to the McCaw Hall. 

An enchanting production, imaginative, amusing and suitable for children of all ages.

Good-time girl, hometown sweetheart, torn-apart lover, smugglers and rivals, familiar songs, a cliffhanger of a tale. 

Calixto Bieito’s production of Georges Bizet’s Carmen isn't without controversy. San Francisco Opera gave us raw sexuality unvarnished by any degree of social refinement.

The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.

Whether you call it Un giorno di regno or “King for a Day”, Giuseppe Verdi’s second opera and his first comedy is mostly unknown. That has not stopped the Glimmerglass Festival from mounting a spirited production for its 2013 season in the Alice Busch Opera Theatre on the shores of Otsego Lake in upstate New York.

Sultry and brassy, calculating and cruel, the character Carmen is, well, hard to like. By contrast, Bizet’s opéra comique of the same name playing in repertory at Glimmerglass Festival this summer is resoundingly popular, bringing audiences to standing ovations.The shining virtue of this Glimmerglass production is the music—especially the singing.

Read our review of John Cox's production of ­Massenet's Thaïs in its 2008 broadcast from the Met Opera in New York.

Una poderosa versión de concierto de La forza del destino llena de emoción el Teatro Colón bajo la eficaz dirección de Giuseppe Finzi.

Le duo de metteurs en scène Jean-Philippe Clarac et Olivier Deloeil mettent en scène la trilogie Mozart-Da Ponte à La Monnaie. Place à un Figaro contemporain tourbillonnant et plein d'imagination.

Le duo de metteurs en scène Jean-Philippe Clarac et Olivier Deloeil mettent en scène la trilogie Mozart-Da Ponte à La Monnaie. Dans une production aux allures de série télévisée, Così constitue un épisode très convaincant.

Travaillant sur l'harmonie, l'équilibre et la question de l'attraction dans ce Cosí, Anne Teresa De Keersmaeker propose une vision toute singulière de cette oeuvre dont la misogynie certaine ne saurait être gommée ou normalisée.

Véritable précis de monadologie aux accents newtoniens, dont l’acuité et la précision le disputent à la chaleur et au charnel dans un tourbillon de couleurs, le Cosí de Keersmaeker mêle savamment mouvement et harmonie dans un geste aussi chorégraphique que musical. Pour un résultat saisissant !