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A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

The ninth revival of Jonathan Kent’s production features a great Act 1 and enjoyable Covent Garden role debuts for the three top singers, but misses the mark on the set pieces.

The Metropolitan Opera’s now 29-year old production of Aida is still standing and still looking good. Gianni Quaranta’s gigantic sets – floor-to-sky-statuary, regal-looking staircases, a couple of horses, wise/exciting use of the stage elevator to change scenes (causing, unfortunately, a glitch the other night which delayed the final scene for a few minutes), costumes (by Dada Saligeri) mostly of

With a light-voiced cast and gentle updating, the Staatsoper's new Manon Lescaut makes a good case for Puccini's difficult breakthrough opera.

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.

Chinese dragons, Dalek-like pagoda towers: Opera Australia's harbour-side production of Turandot did not shy away from oriental imagery, leading to a spectacular evening's entertainment.

A clumsily directed, poorly sung Tosca at the ROH made for a dispiriting evening. 

In Zurich, a dazzling production of Puccini's great Turandot gives us the stuff of torment, torture and all the other idiosyncracies of love at the executuve level.

In spite of the not insignificant problems, Opera Rara are utterly convincing that Leoncavallo's Zazà is a work that should be seen and heard more often.

Clémentine Margaine and Riccardo Massi star as the troubled lover's in the Deutsche Oper's classic, yet bloodless, production of Carmen.

The Royal Opera House revives Jonathan Kent's traditional production, but with a crucial lack of magnetism between hero and heroine, Puccini's taut thriller feels somewhat muzzled.

Destiny, Fate, Providence: different ways of describing the sense of an external agency shaping our ends. Verdi’s La Forza del Destino, based on a Spanish play by Angel de Saavedra, Duke of Rivas, is a sprawling tale in which the characters’ lives are irrevocably shaped by a fatal accident.

An obsessively man-hating princess, a slave girl who really needs to open up a bit more about her feelings, a prince who actually fell in love at first sight, and an unhealthily large dose of exoticism? Why, it can only be Puccini’s Turandot.

An der Bayerischen Staatsoper bleibt bei Giacomo Puccinis Oper kein Auge trocken.

Pour l’ouverture de la saison du Teatro Regio de Turin portait à l’affiche le très célèbre Aïda de Giuseppe Verdi. Le montage du chef-d’œuvre amenait une collaboration inédite avec le Museo Egizio de la ville, considéré comme l’une des collections archéologiques égyptiennes les plus riches du monde après le Musée du Caire.

Dans le Requiem de Verdi, Violeta Urmana provoque une émotion durable sur les auditeurs parmi un plateau de solistes déséquilibré.