Live, Video: Find classical music concert, opera, ballet and dance reviews | Massimo Cavalletti

Three Russian singers star in a revival of the Italian director's academy production from 2003. 

In a reduced concert performance of Il trovatore the drama unfolds with the force of music alone.

In the role created for Jenny Lind, Lisette Oropesa, in her debut in the theater, shows her magnificent silvery voice, beautiful vibrato and impeccable colorature.

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

An unlikely coupling of one-act operas by Zemlinsky and Puccini bears fruit in a staging that reveals their thematic parallels while leaving their obvious differences on show.

The 2013 Salzburg production of Damiano Michieletto's Falstaff finally arrives in Milan where the director sets the opera in “Casa Verdi”, the Milanese residence for elderly singers and musicians.

After 120 years Puccini's La bohème returns where it was first produced on February 1, 1896. Ale Ollé, director fron "La Fura dels Baus" stages a modern rendition of the moving masterpiece.

The Met's new production of Manon Lescaut with Kristine Opolais and Roberto Alagna has great potential to be successful musically, but the production is mixed at best.

Jonathan Miller may not be directing new productions of operas any more, but his productions are still being revived in many countries; in Tokyo’s New National Theatre, his Falstaff has just been revived.

Daniele Gatti illuminates Robert Carsen's blithe Falstaff narrative

This is a well-oiled operatic machine, with all of the cogs whirring. Act I's garret crackles and pops in a slick stream of gags both familiar and new.

Bridging new and old, the young graduates of Teatro alla Scala's Academy joined seasoned Italian opera legends for an "Academy Project" performance of Gioachino Rossini's Il barbiere di Siviglia in Jean-Pierre Ponnelle's 46-year-old staging.

Donizetti’s magic potion was much more Bollinger bubbles than bad Bordeaux.  It was delightful, delicious and de-lovely.

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

The Met's revival of Carmen, with its rotating set, has a successful opening night with a strong cast, an insightful conductor, a superb orchestra and chorus, all working well as a team.

Ambrogio Maestri reprises his star turn as a vocally and theatrically complete Falstaff in Robert Carsen’s lavish, food-fuelled situational comedy at the Holland Festival.

“Of all my works, the one that pleases me most is the Casa I’ve had built in Milan to accommodate old singers who have not been favoured by fortune or who did not possess the virtue of thrift in their youth”. This is how Verdi described the retirement home for elderly musicians he founded at the time of the composition of this opera Falstaff.

When Salzburg Festival director Alexander Pereira stepped onto the stage of the Großes Festspielhaus last night to announce that one of the cast members of La bohème was sick and unable to sing, he faced a chorus of hisses from the audience. Soprano Anna Netrebko, the festival’s biggest non-conductor star, was feeling fine (though as Mimì she would shortly die of consumption).

La Temporada Lírica de Amigos de la Ópera de La Coruña abre la presente edición con Puccini y una conmovedora versión de La bohème bajo la dirección de Pérez-Sierra.