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A thoroughly satisfying, entertaining production of Mozart's Die Zauberflöte from Irish National Opera. Anna Devin delivers a delightful Pamina and Nick Pritchard a convincing Tamino. 

A fresh and compelling performance of Carl Orff’s classic. Aaron Copland’s rarely-performed Statements filled out the orchestra’s last concert performance at the Blossom Music Festival for 2018.

Adès opera resists explanation, and the ambiguity of the story drives much of its compelling nature. 

Ludovic Morlot closes his sixth Seattle Symphony season with a challenging program of Ligeti's Requiem and Mahler's Fifth that raises the stakes for musical 'redemption'. 

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

Simon Rattle leads the LSO and a fine chorus and cast of soloists in Ligeti's masterpiece: surreal, madcap but touching the sublime.

The Salzburg Festival audience warmly applauded Thomas Adès, Tom Cairns and all musicians for a rounded and gripping première.

Great singing and acting from the Met's Tales of Hoffmann second cast. 

The Metropolitan Opera’s five-year old production of Offenbach’s Les Contes d’Hoffmann returned to the repertoire with a remarkable undertaking of the title role by Vittorio Grigolo.

Calixto Bieito's production of Offenbach's The Tales of Hoffmann is astoundingly sung, but suffers from excessive cuts and occasionally odd direction.

The Irish première of John Adams' Nixon in China results in an inspiring and triumphant evening in Dublin. 

L’Opéra de Montréal opened its 2013/14 season with a revival of Léo Delibes’ major operatic success, Lakmé. Rarely performed today, the story revolves around a romance between a colonial British officer, Gérald, and a Brahma priestess, Lakmé, in 19th-century India.

It’s pretty luxurious to be able to stumble out of your front door at ten to six, wander five minutes round the corner to your friendly local cinema, be greeted with a glass of sparkling wine, and then watch a high-definition live screening of a top contemporary opera production at the Met.

Read our review of Robert Lepage's production of The Tempest in its 2012 broadcast from the Met Opera in New York.

“Once Upon a Time…” No doubt, this has become one of the most familiar lines of childhood. Indeed, what childhood would be complete without fairy tales and fantastical stories of knights, princesses, dragons, and talking animals? Even into adulthood, fantasy and fairy tales continue to capture the imagination of many.

The Strauss opera Ariadne auf Naxos was inspired by the Moliere play The Middle-Class Gentleman. The richest man in Vienna has arranged for two entertainments--one a serious opera composed by a young man just for the occasion, and the other an Italian comedy group. He decides at the last minute to combine the two into one entertainment. If he were a proper gentleman, he would know better.

Tumblers and fire jugglers in rainbow colors. Singing nymphs soaring for stories into the air. Arias deeply dramatic and broadly comic. The Metropolitan Opera’s interpretation of Ariadne auf Naxos by Richard Strauss is a magical mashup of modern and classic, seria and buffa, technique and technology that pleases but falls short of terrific for this reviewer.

Manfred Trojahns Oper beginnt, wo Richard Strauss' endet: einmal noch wird Orest im Auftrag Elektras töten.

La très attendue mise en scène de La flûte enchantée de Mozart au Festival d'opéra de Québec a valu un triomphe au metteur en scène Robert Lepage, qui a procédé à un véritable dépoussièrage de l'œuvre. 

Ein interessantes zeitgenössisches Werk und starke Bilder - allemal ein Erlebnis.