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Romeo Castellucci's captivating Moses und Aron was a major success, a bold reminder of the boundless power of opera.

Kasper Holten's new production fails to convince about the alleged virtues of Wagner's outcast comic opera.

In the opening night of Teatro Real's new season, Mariella Devia proved why she is one of the best bel canto singers of the last decades.

Adrianne Pieczonka and Anett Fritsch shone in an otherwise disappointing opening night, impaired by poor conducting and unimpressive staging.

Routine took hold of the Teatro Real in its production of La traviata, despite baritone Juan Jesús Rodríguez's best efforts.

Gounod’s Roméo et Juliette attracted a large audience for a concert performance from Madrid, enticed by Roberto Alagna's Roméo.

Death in Venice makes its première in Madrid with a rational and symbolic production by Willy Decker. 

Donizetti's La Fille du régiment brings much needed joy to the Teatro Real, with Javier Camarena's astonishing voice and Aleksandra Kurzak's unapologetic tomboy mesmerising the audience.

A classical setting and a varying degree of vocal and dramatic success for Mozart's miraculous score to Le nozze di Figaro.

A concert of many virtues, laying bare Verdi's music only made it better. James Conlon conducts I vespri siciliani in Madrid.

Good versus evil, only evil wins. Wagner's Lohengrin fills the Madrid night with questions about what trust is and what it takes to maintain it.

With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.

Annie Proulx's love story between two men in rural Wyoming sees its opera première. Strong casting and an irregular score turn Spain into the capital of the opera.

Video artist Bill Viola fills Tristan und Isolde with mesmerising images. Peter Sellars stages and Marc Piollet conducts a cast where King Marke reigns, at the Teatro Real in Madrid.

The Madrid opera house ends the year with a production of Donizetti's L'Elisir d'Amore from Damiano Michieletto, transporting the action to a noisy Mediterranean beach.

The inability of human beings to communicate or even empathise, and the monstrous consequences that gap in misunderstanding leads to, is the foundational idea of Die Eroberung von Mexico, and Wolfgang Rihm’s dense and frequently brilliant music.

La Sinfónica de Madrid ha salido del foso del Real para ofrecer la, ya habitual en el los preliminares de la Navidad, Novena de Beethoven; con Luisotti al frente y el Coro Intermezzo asistimos a una versión excelsa de la llamada a la fraternidad.

Un Domingo en asombroso estado de gracia puso una vez más al teatro en pie

Un interesante y desigual sexteto de cantantes para la versión concierto de una de las obras menos representadas de Verdi.  

Una deslumbrante actuación orquestal a manos de Semyon Bychkov en una producción que no logra aprovechar las posibilidades de la obra de Wagner.

Arriesgada y deliciosa recreación humorística de la obra mozartiana en clave de cine mudo, lejos de cualquier simbología o pretensión de profundidad

Un notable reparto vocal y un cantante leyenda para una producción de claroscuros.