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Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

The Met's new season opens with a new Samson et Dalila only marginally more trashy than Saint-Saëns’ peculiar brand of kitschy orientalism.

In Lyon, Daniele Rustioni drives through a pulsating reading of Macbeth, Ivo van Hove's imaginative setting not always fully backed by the vocal performances.

Rimsky-Korsakov's opera remain rarities outside Russia, but the Bolshoi Opera made The Tsar’s Bride the anchor of this year's Hong Kong Arts Festival programme. 

The Met's première of Iolanta and Bluebeard's Castle, delayed by snow, opened with powerful singing and deeply effective staging. Iolanta showcased beautiful singing from the principals, while Bluebeard's Castle showed off brilliant playing by the Met Orchestra.

Hearing Russian opera performed by the forces of the Bolshoi makes for a special experience for New York audiences. 

Having resoundingly declared not two weeks ago that I had never seen the CBSO perform so well, I am forced to admit that the orchestra have once again outdone themselves.