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Anna Netrebko chews the scenery as Floria Tosca… and there’s a lot of it to get her teeth into in David Livermore’s busy staging in Milan.

In the tiring role of Menelaus Andreas Schager was a mighty Heldentenor, combining impressive sound power with a dazzling colour and without ever showing a moment of fatigue.

Carsen's modern mise en scène of Handel's opera did not stand out for originality, but for finesse and elegance and that was substantially appreciated by the audience.

After 76 performances in 17 theatres and seven different productions, Quartett returns to La Scala in the original sgating by Àlex Ollé of La Fura dels Baus and the Milan audience is once more captivated.

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.

The wealth of visual images displayed by director Graham Vick goes with the extraordinary richness of Korngold's music.

Frederic Wake-Walker sticks to a vapid pop-parody that demeans the intellectual message of Strauss' Ariadne auf Naxos.

Alessandra Ferri, the former La Scala Prima Ballerina Assoluta, makes her triumphant return to Milan as the moving incarnation of Virginia Woolf in Wayne McGregor's most mature, complete and striking piece to date.

In Khovanshchina, even more so than in Boris Godunov, the chorus is the chief protagonist and the La Scala chorus was truly astonishing.

Outstanding vocal and orchestral performances light up La Scala's season opener, matched to a conservative but visually arresting staging from Davide Livermore.

Diego Fasolis leads a period performance of Mozart’s early masterpiece with a strong cast and a clever production.

Verdi's fifth opera can be considered a blueprint for Trovatore and deserves a more regular place in the repertoire, but it needs more sincere advocacy than Bechtolf is prepared to grant.

Yoncheva passed the test in style, providing a scintillating delivery that drew feverish approval from the public.

Chung's mastery of orchestral colour and texture came into its own, the brooding introduction to Act 2 making for a harrowingly apocalyptic representation of tyranny.

Harding's grasp of the work's architecture that provides overall coherence. That, combined with the pithy, pulsing core he forges at its heart, makes this performance as engaging as it is polished.

You feel you ought not to approve of such directorial extravagance, but catch yourself being drawn into the grand pageant. 

The use in the score of ancient musical instruments is what differentiates this work: pifferi, a lute, a “viola pomposa” give this work a distinctive flavour.

Director Davide Livermore sets the story at the time of the Dolce Vita, including the motorbike from the film Roman Holiday and the roadster from The Easy Life.

Juan Diego Flórez perhaps is the only one currently able to revive the virtuosity of the role created in 1762

If Chung is sometimes hailed as the greatest living conductor of Verdi, here was a performance to support that claim.

The Temple of Opera has opened its doors to operetta. For the first time the Teatro alla Scala is staging Johann Strauss' Die Fledermaus.

The big season opener at La Scala offers few surprises in a traditional staging, although Yusif Eyvazov proved his worth in the title role. 

The work takes its inspiration from the life of the little known Italian composer Alessandro Stradella who ended his life stabbed by killers sent by the husbands of his innumerable mistresses.

This was a performance that had you lickng your lips for Santi’s return next season with Zeffirelli’s time-honoured take on Aida.

Hartmann's staging takes a bizarre twist in the end since so far the staging had followed the naïve story very faithfully without any weird implications.

Director Davide Livermore updates the plot to the period of the Russian Revolution, October 1917, a far echo of that turning point in 1403 when the Ottoman sultan Bajazet was defeated by the Tartar Timburlaine.

The conductor favours measured tempi and unfussy direction, allowing the work to stand mountain-like as an expression of its own intrinsic magnificence.

Zubin Mehta brings a great deal of class to most things he conducts at La Scala, and here his bright account of Mozart's score was a joy. 

Robert Carsen's Don Giovanni cannot burn in a hell in which he does not believe. 

The Scala Ballet performs a daring triple bill this Spring, showcasing young Italian choreographers alongside one of Balanchine's masterpieces, Symphony in C.

La gazza ladra celebrates its 200th anniversary with a new production at La Scala, an earthbound effort from director Gabriele Salvatores, but it was Riccardo Chailly who drew the wrath of sections of the Milanese audience. 

Daniele Gatti is the winner of the night, managing to draw an astounding outcome from a far from ideal cast.

Netrebko's Violetta is now fuller in body and voice than in her former incarnation. Goodbye to the fresh-faced damsel we saw in Salzburg; hello to a larger-than-life courtesan in her twilight years.

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.

Were it not for a sterling musical display, built on the shoulders of bass Ferruccio Furlanetto and conductor Myung-whun Chung, this could have been a very long night indeed.

A beautiful production by Alvis Hermanis of Madama Butterfly to open La Scala's new season, but it was Riccardo Chailly's presentation of Puccini's original 1904 score which caught the ear. 

At La Scala, Milan a disappointing tribute to Giorgio Strehler's historic staging of The Marriage of Figaro by young English director Frederic Wake-Walker. 

Britten's The Turn of the Screw finally makes its debut at La Scala in Kasper Holten's eerie staging. 

Mehta's refusal to treat these as episodic statements gave the playing its polish. The music unravelled in a spun-out yarn.

La Scala might not have had all the right cards in its garter Tuesday night to prevent ending up holding aces and spaces, but it’s hard to play without a full deck in the first place.

A revival of a verismo rarity: Umberto Giordano's La cene delle beffe at La Scala. 

Leo Nucci visceral animal of the stage has over 500 performances of the role under his belt, and, at the age of 73, he now eats this operatic challenge for breakfast

Verdi's take on the Joan of Arc story may be thin on drama, but outstanding playing from Riccardo Chailly and the La Scala orchestra and top notch singing from Netrebko, Meli and Álvarez make this a wonderful Verdian evening.

The set is a stark, grubby nonentity. A central concave structure spits out each scene's requisites, flashing up like apparitions from the vortex of Wozzeck's mind.

Daniele Gatti illuminates Robert Carsen's blithe Falstaff narrative

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.

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.

After an absence of 145 years, Teato alla Scala staged Gioachino Rossini's Otello in a painterly Jürgen Flimm production, sparse set inspired by conversations with Anselm Kiefer.

Six years after its contested 2009 world première at the Metropolitan Opera, Luc Bondy's disputed production of Giacomo Puccini's Tosca bowed its third Teatro alla Scala staging here on Monday night.