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A mid-performance jump-in by tenor Thomas Strong saves the show on the opening night of this revival of Graeme Murphy's production.

187 years after its Parisian debut, Halévy's La Juive receives its Australian premiere. A sterling cast under Carlo Montanaro reveals some unexpected beauties (and occasional longueurs) in this classic of French grand opéra.

Gianni Amelio's traditionalist staging pleased the audience, and Nadine Sierra brought vocal grace and a flawless technique to the title role.

A concert performance makes our reviewer at the Teatro San Carlo pine for a return to staged opera. 

Sarah Coburn triumphs in Shawna Lucey's production of Donizetti's masterpiece. 

Using the misogyny and violence of Rigoletto to hold up a mirror to contemporary corruption, Lindy Hume's production overcomes its inconsistencies with a vivid blend of theatrical and musical values. 

The real triumph of Michael Fabiano's role debut as Werther lay in controlling the bold intensity of his voice in favour of a sweet and lower-key level of passion – a match for Massenet's frequent choice of the cello.

With her signature role’s coloratura fireworks and dramatic nuance, Jessica Pratt’s Sydney Opera House debut is one to remember.

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

Seattle Opera's visually poetic and refined Madama Butterfly peeks back at Puccini's own first version of the opera, which was arguably more openly critical of the devastation wrought by imperialism. 

Oper Frankfurt's new production of Rigoletto focuses on the dark side of the tragedy with excellent singing from the two principals.

Calixto Bieito’s production of Georges Bizet’s Carmen isn't without controversy. San Francisco Opera gave us raw sexuality unvarnished by any degree of social refinement.

The thrills of Tudor (pseudo-)history and bel canto expressivity combine in the second of Donizetti's “Three Queens” operas, Maria Stuarda, making its company debut at Seattle Opera.

To open its season, Seattle Opera presents its first-ever Nabucco in a production undermined by weak staging and uneven casting.

Rarely performed, Boito’s Mefistofele is an audacious, spectacular opera, needing an audacious, spectacular staging to do it justice. That’s exactly what it gets in Balázs Kovalik’s production for Hungarian State Opera.

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.

Originalement conçue, cette nouvelle production de l'opéra de Rossini a tout pour séduire, nous divertir et nous suprendre.