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First marketed as Ivan the Terrible by Serge Diaghilev, Rimsky-Korsakov's first opera The Maid of Pskov makes a rare appearance outside of Russia, in leafy Surrey. 

When it comes to the title role, Bartlett Sher's non-interventionist production misses the core of the character. 

Francesca Zambello’s engaging Aida opened the season at Washington National Opera, eventually getting into its stride. 

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

Grange Park’s Samson et Dalila doesn’t hit the bull’s eye, but it’s well worth the visit for a decent all-round staging of an unfamiliar work, an excellent rendering of its sumptuous score and for a thrilling piece of singing by Carl Tanner.

The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.

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.

Bringing Peter Grimes to Grange Park a year after the Britten centenary is an enormous challenge. With ‘Grimes on the Beach’ still fresh in the memory, the task of recreating the Suffolk coast in Hampshire’s idyllic countryside might have seemed a step too far. 

Un Otello, en el Liceu, en la producción de Kriegenburg, con algunos claroscuros y en la que destacó Desdemona con una acertada interpretación.