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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. 

Verdi’s Macbeth, performed at the first Edinburgh International Festival returns for its 70th anniversary in Emma Dante’s sumptuous new production from the Teatro Regino Torino under Gianandrea Noseda.

Director Emma Dante revives Verdi's Macbeth for Turin's Teatro Regio, conducted by Gianandrea Noseda.

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.

Verdi’s Aida has been performed over 1,000 times at the Metropolitan Opera, making it the most commonly revived work after Puccini’s La bohème. Because Aida is so regularly programmed, I usually walk rather than run to see this opera.

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.

La soprano sueca brindó un recital sólido, prácticamente sin fisuras y superando con éxito las dificultades que plantean arias como "In questa reggia". Por su parte, el bajo búlgaro estuvo a la altura y, si bien no terminó de cautivar en el célebre "Nessun dorma", evidenció por lo demás dominio y empaque.

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.

À travers la nouvelle mise en scène de Pierre Audi, l'oeuvre de Puccini prend une dimension singulièrement symbolique. Le tout servi par une distribution remarquable.