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Nicola Raab puts Byron at the heart of Il corsaro in her new production for the Palau de les Arts, but doesn’t always know what to do with him.

Stefano Poda's staging has its own coherence, but it is as cold as the Chinese princess. 

The Met succeeded in casting two strong singers for the difficult lead roles of Puccini's final opera. 

Tcherniakov's moving production delves into the psychological rather than revelling in the spectacular. 

Olivier Tambosi’s controversial production of Janáček's Jenůfa first appeared at the Met in 2003.

In this production of Andrea Chénier, love, liberty, revolution and death are all ingredients to create strong emotions: with a final ovation for the conductor.

The Royal Opera House revives Jonathan Kent's traditional production, but with a crucial lack of magnetism between hero and heroine, Puccini's taut thriller feels somewhat muzzled.

Even the best opera glasses would be no match for the intensity of this close-up introspection: a new production of Borodin's Prince Igor is playing at the Met.

Under the artistic and musical direction of Olivier Py and Philippe Jordan, Verdi’s opera has ignited a veritable storm of both fervent criticism and ardent defence.

Puccini's Il Trittico, performed last night at the Opéra Bastille in Paris, is a unique item in the repertoire: a series of three one act operas with little to link them except the composer's conceit of what would work together in an evening. Each opera clocks in at something under an hour, and despite the relatively short duration, each has plenty of time to develop its characters.

Esta reposición de Turandot en el Teatro de la Maestranza de Sevilla supone una explosión de emoción y brillo para el inicio de su temporada.

La obra póstuma de Puccini se presenta en el Real con muy buena acogida tras veinte años de ausencia. Reseñamos el segundo reparto de esta producción de Robert Wilson.