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Audience protests against Roberto Abbado interrupt the opening night of the festival, Yannis Kokkos' staging of La forza del destino.

No hippos in tutus for The Dance of the Hours, but panto frolics abound in Stephen Madcalf's staging in the idyllic Theatre in the Woods. 

The controversial artist stages his first opera in Rome, with strong musical performances under dynamic Ukrainian conductor Oksana Lyniv. 

Maestro Myung-Whun Chung leads an almost all-Italian cast in an impressive performance of Verdi’s most ambiguous masterpiece.

When they asked Wilson to stage an opera by Verdi, the Texan director replied "I'll never do it!". Now he is at his fourth Verdi's production.

Marco Tullio Giordana's new production at the Maggio Musicale may be static, but musically there's much to enjoy in this rare slice of middle-period Verdi.

At its 2015 inauguration at the Royal Opera House, a controversial rape scene in Act 3 drew outrage from the audience and critics alike. Now the Teatro Massimo is presenting the production once again.

Fabio Luisi conducts a solidly cast Guillaume Tell with panache, Rossini's final opera returning to the Metropolitan Opera after a long absence. 

Excellent music-making over an indecisive but faithful Simon Boccanegra production opens Genoa's Teatro Carlo Felice new season.

A very good production of Luisa Miller by the Teatro San Carlo, set in Naples itself.

In San Carlo's Luisa Miller, top notch performances from Luciano Ganci and Elena Moşuc lead a concert performance which show what a great and underperformed work this is.

Musikalisch war Daniele Gattis Falstaff eine Offenbarung und ein grandioser Einstieg als Chef an der Semperoper. Auch das Sängerensemble nötigte Bewunderung ab. Michielettos Personenführung diente der Komödie gut, blieb aber im szenischen Setting einigermaßen belanglos.

Leo Nucci volvió a hacer un Rigoletto rebosante de carisma e intensidad, junto al que un brillante reparto supo destacar, con el apoyo de la enorme calidad de la Orquesta de la Comunidad Valenciana y una ágil batuta de Roberto Abbado.

Nouvelle production du rare opéra de Berlioz, Benvenuto Cellini, à l'Opéra Bastille. Mise en scène spectaculaire de Terry Gilliam.

Coup d'envoi de la rentrée lyrique genevoise avec le Barbier de Séville, premier volet d'une trilogie consacré à Figaro. 

Alexandra Deshorties peine à convaincre vocalement, la mise en scène de Jossi Wieler et Sergio Morabito venant par ailleurs crucifier sur l’autel du gris infini l’opéra de Bellini.

Crítica comparativa entre los dos repartos de la obra, una confrontación de la que ambos salen airosos.

Giuseppe Verdis Aida hält alles bereit, was man für eine bombastische Operninszenierung braucht. Doch was, wenn man einfach auf den ganzen Pomp verzichtet und eine ganz schlichte Inszenierung wählt?