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The Canadian Opera Company’s season opening production is musically excellent, but the dated, dull production adds little. 

Amartuvshin Enkhbat and María José Siri spar as father and daughter in Günter Krämer's tired production of Verdi's biblical epic. 

The COC's revival production of Puccini's La bohème is an enjoyable trip to the opera but it won't blow your socks off.

A conventional plot retains few of the elements of its Arabian Nights original, but the Academy's young pupils display vocal mastery in Milan.

This summer’s production of Bizet’s Carmen on the Seebühne stage in Bregenz offers a great spectacle. 

Franco Zeffirelli's admired 1987 Turandot honored Giacomo Puccini's chinoiserie fantasy about a cold-hearted princess thawed by love, but musically lacked conviction.

The Met's Turandot remains a grand spectacle, worthy of the opera itself, with a cast rightly earnsing the wild ovation it received.

A good staging and good acting aren't enough to make up for musical shortcomings of the Bayerische Staatsoper's Norma. 

Nothing will make the plot of Il trovatore less ridiculous. But a director who embraces that ridiculousness, plus stellar playing and singing, make for a great show.

Munich revives La traviata showcasing Diana Damrau, who is growing into one of the best Violettas to grace the opera stage today.

Anna Netrebko makes a glorious role debut as Lady Macbeth in a revival of Martin Kušej's jumbled production of Verdi's first Shakespeare opera.

Nabucco in a shopping mall – this is Graham Vick’s concept for his new production of Verdi’s early masterpiece created specifically for New National Theatre Tokyo.

The Netherlands Opera’s production of William Tell, directed by Pierre Audi, has proved a daunting endeavor, captivating the audience through its colorful treatment of Rossini’s final opera. From the cast of characters on stage and the musicians of the orchestra to the sound, lighting, stage and costume departments, the roughly four-and-a-half-hour event couldn’t have been more stimulating.

Puccini’s Tosca is no stranger to the stages of Paris. With almost 300 performances of this opera to date at the Opéra National de Paris, Tosca has become, alongside Mozart’s Le Nozze de Figaro and Bizet’s Carmen, a staple of Paris’ opera houses.However, such popularity opens up challenges.

La metteuse en scène allemande Karin Henkel présente le portrait d’une femme instrumentalisée par une société festive où seul l’argent et l’instrumentalisation des femmes règnent en maître.

Si la direction musicale de Paolo Carignani, l'orchestre et les chœurs impressionnent, l'ensemble de la production est plombé par une mise en scène caricaturale, tandis que la distribution laisse une impression mitigée.

Peter Steins Inszenierung spiegelt gekonnt ein Werk wider, in dem sich musikalische Schlichtheit und üppiger Klang abwechseln.

La mise en scène de Michael Thalheimer va à l’essentiel dans Macbeth, dernière production du mandat d'Aviel Cahn à la tête de l’Opéra de Flandre.

À La Monnaie, La Gioconda bénéficie d'une distribution pleinement satisfaisante. La mise en scène sombre et glaçante d'Olivier Py laisse une impression plus mitigée.

Los figurines y la escenografía austera de Stewart Laing se contrastan con el ensueño, resuelto de forma notable por Stephen Costello en una maravillosa Che gelida manina, y la réplica, ascendente pero no menos cautivadora, de Anita Hartig