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Niamh O’Sullivan brings charisma to an attractive, colourful production, but a lack of dramatic intensity leaves Bizet’s enduring tale of passion and possessiveness short of its full impact.

Could this be the last triumphant outing for the late, great Elijah Moshinksy's moving production of Rigoletto?

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.

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

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.

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.

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

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.