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Contrasting sensations at the Liceu, where the audience punished a production of La bohème with boos and gave rapturous applause to a cast that performed at half throttle.

The COC's revival production of Puccini's La bohème is an enjoyable trip to the opera but it won't blow your socks off.

All three operas in Puccini's triptych are strongly cast in this revival. 

A committed cast make this  a beautifully performed ensemble piece in which the tragedy of young love cut short by untimely disease is compellingly put across.

This production fell just short of brilliance but showed how relevant and thought-provoking opera as an art form can be when tapping into today's headline debates.

Glyndebourne's second Traviata cast of the summer saw the festival field three principals worthy of any major international opera house. 

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.

About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.

A thrilling new staging of Gounod's opera from the team that brought Bayreuth its current Ring, with musical rewards to match.

A charmingly-retro, Naïf Art production of Donizetti's L'elisir d'amore at Teatro alla Scala provided a refreshing departure from the minimal, post-apocalyptic devastation trends of modern stagecraft.

For his first collaboration with the Dutch National Opera, Australian director Benedict Andrews emphasizes the modernity of Puccini’s most popular opera.

In La rondine’s climactic scene, when Magda explains to her young lover Ruggero why she believes she must leave him, Puccini sets their exchange to one of the most hackneyed of all musical formulas: the cycle of fifths.

Manon fait son retour à Bastille dans un spectacle cohérent, avec une distribution réservant quelques belles surprises – mais une direction d'orchestre lorgnant un peu trop vers l'opéra...

À Berlin, la nouvelle production du Rosenkavalier par André Heller fait un sans-faute, portée par un casting cinq étoiles.

C’est un accueil triomphal que reçoit cette nouvelle production parisienne de La Traviata, placée sous le double signe de la jeunesse et des réseaux sociaux.

Difficile de comprendre réellement comment a pu naître, dans l’esprit du metteur en scène allemand, un rapprochement aussi saugrenu. C’est pourtant dans un vaisseau spatial, puis sur la terre lunaire, que l’action de La bohème se déroule.