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Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

Chavaz's post-modern mythological approach to Rossini's neglected opera Guillaume Tell pays off with some glorious singing from the principals and the INO Chorus. 

Michael Barker-Caven sets Aida in a 21st-century war zone in the Middle-East, allowing the audience to focus on the human drama.

The biggest stigma associated with opera in Ireland is not that it is an elitist art form, but that it is not “Irish”, and that it doesn’t belong to Irish culture, more of a recent import, like pasta, or avocado.

Based on Irish mythology, Opera Theatre Company deiver a compelling concert performance of an exceedingly rare Irish opera Eithne 

A life-affirming account of Mahler Symphony no.3 with strong input from mezzo Imelda Drumm, the Ladies of the RTE Philharmonic Choir and Cór na nÓg. 

Birthday celebrations for the RTE Philharmonic Choir singing Agnew and Elgar, while Tinney shines in Mozart's Piano Concerto no. 20 in D minor K466. 

Tonight was the Dublin première of Dvořák’s opera Rusalka, and the most surprising fact about this is that it took 112 years for this enchanting opera to make its debut here. For, as tonight’s performance so aptly illustrated, Rusalka is a glorious work on so many different levels: it has hauntingly beautiful melodies, daring orchestral harmonies and an enchanting but ultimately tragic love story.

Richard Strauss's Ariadne auf Naxos boasts the most confusing cast list of any opera. Ariadne and Bacchus feature either as themselves or as "primadonna" and "tenor", in addition to figures from Greek mythology, we get Commedia dell'arte names like Scaramuccio and Truffaldino, there are backstage characters like the composer, the music master and the wigmaker, and a spoken part of the Major-Domo.