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Herheim pulls us in unexpected directions, makes us laugh and makes us think as we enjoy fine Rossinian music and singing in Opéra de Lyon's production.

Emilio Sagi’s brightly lit but simplistic staging of Il viaggio a Reims moves the action from northern France to a sunny spa hotel in warmer climes.

With his first foray into Rossini, Norwegian director Stefan Herheim turns La Cenerentola into a brilliantly funny spectacle, filled with thought provoking humour and outstanding singing.

Glyndebourne's annual performance at the Proms proves dramatically untraditional but musically solid.

Annabel Arden's new production, although decently sung and visually striking, is seriously under-directed, allowing forced acting to blunt the humour.

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

François de Carpentries’ Oslo production of The Barber of Seville is back for its fourth revival. The singing ranges from the uninteresting to the outright excellent, but the production can still provide a thoroughly entertaining evening at the opera.

Visually and vocally beautiful, but the case for updating the setting of this story is not made.

Pour l'ouverture de la saison de l'Opera de Lille, Antonello Allemandi et Jean Bellorini proposent une Cenerentola pleine de fantaisie et de mouvement. Une production très inspirée par l'univers cinématographique... et la bicyclette !