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In this historic reopening, Lisette Oropesa offers a magnificent performance, dramatically overwhelming and vocally very unique.

At Dutch National Opera in Amsterdam, Laurent Pelly stages Cenenrentola as a pink daydream.

Comedy fails to spark in Laurent Pelly's new production of Falstaff at the Teatro Real. 

Yoncheva passed the test in style, providing a scintillating delivery that drew feverish approval from the public.

The Iván Fischer Opera Company makes a triumphant foray into Verdi's oeuvre.

Vick enjoys working with young singers, and in with the young second cast he is spoiled.

Mario Martone's 2006 production captures both the aesthetic and the spirit of the age.

Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.

In Livermore's staging the scheme becomes meta-cinematographic: the poet Prosdocimus here has Marcello Mastroianni's features in Fellini's film 8 ½.

A winning ensemble of singers led by James Levine makes the revival of Rossini’s early opera a success.

A revival of a verismo rarity: Umberto Giordano's La cene delle beffe at La Scala. 

Daniele Gatti illuminates Robert Carsen's blithe Falstaff narrative

A series of cancellations resulted in an unusual triple bill: a rare Spanish opera, an impromptu concert by Plácido Domingo and Woody Allen's brilliant Gianni Schicchi.

Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues. 

A joyful atnmophere in this production, thanks to the colourful staging and godible singing cast.

The singing is strong and the stagework slick in Laurent Pelly's rib-tickling, often uproarious production of Le Comte Ory.

Not the typical Cinderella fairytale: Cecilia Bartoli brings Cenerentola to a present day Whitsuntide by cleaning the tables of a diner.

Irina Brook's new production of Donizetti's L'elisir d'amore sparkles in a witty new production at the Deutsche Oper Berlin.

The Netherlands Opera’s production of William Tell, directed by Pierre Audi, has proved a daunting endeavor, captivating the audience through its colorful treatment of Rossini’s final opera. From the cast of characters on stage and the musicians of the orchestra to the sound, lighting, stage and costume departments, the roughly four-and-a-half-hour event couldn’t have been more stimulating.

The second collaboration between Opera Rara and the BBC Symphony Orchestra brought a starry cast to the Barbican Centre on Sunday evening for a revival of Donizetti’s tragic opera Belisario. Written in 1836, immediately after the triumph of Lucia di Lammermoor, it was an instant success following its première at the Teatro La Fenice in Venice and remained in the repertoire for several decades.

Déception pour l'ouverture de saison à l'Opéra de Lyon : la mise en scène de Tobias Kratzer aligne les poncifs et les nombreuses coupures opérées dans la partition déséquilibrent l'ouvrage de Rossini.

Les Chorégies d'Orange reprennent largement la mise en scène et la distribution du Guillaume Tell produit à Monaco en 2015, pour le plus grand bonheur du Théâtre Antique.

À l'Opéra de Monte-Carlo, Falstaff rencontre un grand succès dans la mise en scène fantasque de Jean-Louis Grinda. Nicola Alaimo propose une admirable incarnation du rôle-titre.

Nouvelle production à l'Opéra Bastille, avec le Simon Boccanegra de Calixto Bieito. Une plongée dans les idées noires du personnage principal, magnifiquement interprété par Ludovic Tézier.

Pour la reprise de la saison lyrique au Capitole, la Traviata faisait office de figure de proue pour un lancement qui se promettait des plus intenses sous la direction musicale de George Petrou.

El tenor mexicano Javier Camarena dio una lección de belcanto ante un elenco discutible y un foso rutinario

El espectacular canto de Celso Albelo destaca en un elenco vocal sólido y una producción atractiva pero vacía de tragedia.

Puisqu’ils constituent, finalement, les soubassements autour desquels devrait s’édifier le reste du spectacle, autant saluer d’emblée les prestations vocales solides de cette année. 

Dernier opéra de Rossini créé en 1829 à l’Opéra de Paris, Guillaume Tell s’inspire d’une légende du Moyen-Âge et de la tragédie de Schiller. Il permet au compositeur de livrer en creux un message politique, celui d’une Italie libérée du joug des Habsbourg.