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Samantha Clarke and Alasdair Kent are perfectly cast as Gounod's star crossed lovers with an excellent supporting cast at West Australian Opera. 

Elin Pritchard’s Amelia lights up an evening which is superb musically, easy on the eye and eventually overcomes the shortcomings of Antonio Somma's libretto.

Rodula Gaitanou sets Richard Strauss and Hugo von Hofmannsthal's comedy in the Cinecittà film studios of the 1950s. 

Massenet, Smyth and Rota are unlikely bedfellows, but in the Guildhall School's Autumn production, a one-act opera by each contributed to a most convincing triple bill, all set around the La Scala Picturehouse in the 1920s.

Mary Miller bows out after ten years at the helm of Bergen National Opera with a defiant account of Mozart’s final opera. 

A terrific opening to the 68th festival with Aigul Akhmetshina's sultry Dulcinée the standout in a great cast. 

Gaitanou’s direction of the singers is so exact that it becomes impossible to separate them from their characters.

A terrifically strong cast gives a fine rendition of two lesser heard operas: Giordano's Mala vita Leoni's L'oracolo.

Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.

After its Christmas break, Cavalleria rusticana and Pagliacci return to the Royal Opera in Daminano Michieletto's arresting production. 

Even stronger than first time round, Michieletto's impressive staging is complemented by an outstanding double role debut from Hymel and a heartbreaking Santuzza from Elīna Garanča.

An intriguing performance of a wonderful, psychological opera that needs to be heard much more frequently this side of the Atlantic.

Tchaikovsky's High Gothic opera about gambling obsessions is worth seeing for a first class staging, albeit with a mixed musical performance.

The Guildhall School of Music and Drama is firing on all cylinders with this double bill of rare surrealist operas by Martinů.

The two works in Guildhall School’s Baroque opera double bill, Thomas Arne’s The Cooper and Stradella’s San Giovanni Battista had little in common except that both are rarely performed, yet somehow made quite good bedfellows. 

A glittering high society romance. A sordid tale of a prostitute born in the gutter and dying alone and painfully. A bel canto charmer, packed with glorious tunes. A scathing attack on Victorian sexual hypocrisy. Verdi's La Traviata is all of these things: find in it what you will.Richard Eyre's production for the Royal Opera is a hardy old soldier.

A split-level stage featuring an ornate stairwell and scaffolding was the setting for this the tenth Jette Parker Young Artists’ Summer Performance. Entitled ‘Veneziana’, the specially compiled programme embodied the visions of Venice dreamt by Rossini, Donizetti, Britten and Offenbach in six sets of Opera Scenes.