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Short of the three lead stars of its opening, The Royal Opera's La forza del destino remains a thrilling evening, powered by Christof Loy's interesting staging and virile singing from Christopher Maltman.

The hottest opera ticket in London this season sees Jonas Kaufmann and Anna Netrebko reunited on the Royal Opera House's stage for the first time since 2008. It was worth the wait. 

Barcelona’s Gran Teatre del Liceu stages Puccini’s first great success as an operatic composer, Manon Lescaut with the stage direction of Davide Livermore. 

In a disappointing revival of Hugo de Ana's clichéd and clumsy production, Liudmyla Monastyrska and Violeta Urmana confronted each other with their superb vocal techniques and diverging styles.

Monstyrska dominates as Abigaille, Domingo brings his unique baritenor style to the title role, Thaddeus Strassberger creates a riot of colour and antiquarian style.

January of 2017 sees the return of Verdi's Nabucco at the Deutsche Oper Berlin. This Keith Warner production of a Verdi favorite was successfully premiered by the Deutsche Oper in 2013, in the 200th anniversary year of Verdi's birth.

Elijah Moshinsky’s 15-year old production of Verdi’s Nabucco has returned to the Met, ostensibly as a vehicle for Placido Domingo.

The return of the Met's Aida was a joyous celebration of the art form with excellent singers and orchestra doing what they do best against the backdrop of a traditional but effective staging.

Liudmyla Monstyrska and John Relyea turn in strong performances and Plácido Domingo confirms his hallowed status, but Daniele Abbado's direction remains unappealing in this first revival.

The Met’s revival of David McVicar’s year-old take on the perennial Verismo twins strikes out emotionally in Cavalleria rusticana but scores high in Pagliacci. Working on the same set by Rae Smith, flanked by the forbidding stone walls of the town church, Cavalleria is dark, dark, dark – the very picture of a poor, unhappy Sicilian hill town.

Houston Grand Opera’s season-opening production of the fiery opera does it right, from lighting to set to singing, and the end result is a stunning beginning to its season.

This revival of Peter Mussbach's production of Macbeth is devoid of props and places the focus squarely on singers and orchestra. This challenge was splendidly met by Plácido Domingo, making a role debut as Macbeth, and Liudmyla Monastyrska.

Verdi’s Aida has been performed over 1,000 times at the Metropolitan Opera, making it the most commonly revived work after Puccini’s La bohème. Because Aida is so regularly programmed, I usually walk rather than run to see this opera.

Attila, Verdi’s ode to Italy (one of them), made its world première in Venice to huge bursts of patriotic feeling. “You can have the universe, but leave Italy for me!” exclaimed the Roman general Ezio, and the audience erupted. Small wonder: the opera appeared at the height of the Risorgimento, when Italy was in the process of unifying into one state.

“Fly, my thoughts, on gilded wings; fly to rest on hills and mounts.” It’s no understatement to say that Va, pensiero, the Act 3 chorus of the Hebrew slaves in Nabucco, catapulted Giuseppe Verdi to lasting fame. It remains one of the biggest moments in any opera, and the Royal Opera Chorus performed it superbly last night.

The Cleveland Orchestra closed its 2011/12 season on Thursday and Saturday, May 31 and June 2, with stirring performances of Giuseppe Verdi’s Requiem, with the orchestra’s Director of Choruses Robert Porco conducting the orchestra, the precisely-trained Cleveland Orchestra Chorus, and an unusually well-matched quartet of soloists.

Ukranian soprano Liudmyla Monastyrska made a sensational Royal Opera debut earlier this season, as a late substitute for the title role of Aida. In the revival of Phyllida Lloyd's production of Verdi's Macbeth, she produced an equally commanding performance.

Attendees of last night's Aida may have been concerned that they would be seeing a stand-in soprano, with the Ukranian Liudmyla Monastyrska making her Covent Garden debut. They needn't have worried. Monastyrska gave a world class performance with great vocal control and huge power.

Très attaché à la représentation picturale, Pierre Audi signe ici une mise en scène relativement classique, efficace, laissant libre champs à l’attention portée aux voix plutôt qu’aux divers éléments qui composent les décors, très figuratifs.

Loin de toute la monumentalité qui a pu rendre indigestes les belles mélopées et accents verdiens, souvent cantonnées aux grandes pompes et à un logos lourdement orientaliste, cet opéra à l’écriture pourtant raffinée, et à la profondeur mésestimée, méritait une telle relecture.