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Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

Scottish Opera’s stylish revival is very finely sung with Hye-Youn Lee as Violetta, Ji-Min Park as Alfredo and Philip Rhodes as Germont. 

Miller's production, running since 1987, is starting to show its ago, but an excellent performance from Anna Devin keeps English National Opera's latest revival moving.

Joana Mallwitz makes her Royal Opera debut in the pit as Sir David McVicar returns to direct this revival of his much-loved 2006 show.

A sublime Federica Lombardi leads a young cast of mostly Italian singers in a revival of Sir David McVicar's popular staging. 

An exquisitely matched pair of sopranos as Susanna and the Countess make up for some quirky casting elsewhere. 

Even given a routine revival, McVicar's staging has much to recommend it, returning the opera to its literary roots. 

The father-daughter exchanges between Dmitri Platanias's jester and Sofia Fomina's Gilda prove the highlights of an evening which doesn't always catch fire.

There are no answers, nor indeed many probing questions, in this Scottish Opera revival of Sir David McVicar’s production from 2008, but it is sumptuous and enjoyable.

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

David McVicar's production may divide audiences with its no holds barred approach to the debauchery of the court of Mantua, but is well worth seeing for the Gilda of Tuuli Takala.

Opera North revives Sir David McVicar's 2002 production of Der Rosenkavalier under new Musical Director Alexander Markovic.  

For anyone seeing Carmen for the first time, this Royal Opera revival will have been a more than satisfactory evening. Old hands hoping to see something extra will find it in Hymel's Don José and Car's Micaëla, but not elsewhere.

A wittily staged, but variably sung twelfth revival of Jonathan Miller's production at the Coliseum. 

Leah Hausman's revival of David McVicar's production allows the comedy to stem from the situations set up by Mozart and da Ponte... aided by Erwin Schrott's witty Figaro.

Routine took hold of the Teatro Real in its production of La traviata, despite baritone Juan Jesús Rodríguez's best efforts.

A prelude that was pedestrian rather than portentous signalled Maurizio Benini’s approach to Rigoletto: Verdi as aural Ovaltine, tucked up in cosy dressing gown and slippers.

There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.

La producción ideada por David McVicar para una puesta en el Gran Teatre del Liceu post-pandémica, regresa mejorada, completa y convirtiéndose en histórica para el teatro.

Un notable reparto vocal y un cantante leyenda para una producción de claroscuros.

El Liceu ha presentado una producción llena de alicientes, con un reparto equilibrado y una dirección efectiva, que cumplió con las expectativas y confirmó a Anita Hartig como una gran Violetta.