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Andris Nelsons conducts a brisk, but pliant performance of Mozart’s dramma giocoso with a fine cast at Tanglewood. 

The Orchestre symphonique de Montréal and Rafael Payare offer up a thrilling Beethoven 9 to close the season.

James Robinson’s production allows the large cast of Catfish Row to interact like the old pals – almost family – that they are.

Forget Rimsky-Korsakov, forget the Polish act... Stephen Wadsworth's new production for The Met returns to Mussorgsky's original 1869 version of his Russian historical epic. 

An all-day Beethoven experience European style with both highs and lows: much diversity revealed and exploited but of variable quality.

A pleasurable evening of surprises in Marco Arturo Marelli’s Turandot.

At 78, Domingo rages against the ravages of time, and – certainly in this production – shows the next generation a thing or two about stagecraft.

The Met’s new production is directed by James Robinson, who has the characters interacting and listening to one another as if in real life – the inhabitants of Catfish Row have known each other for all of their lives and love, pray and grieve like family.

The outstanding trio of Nylund, Stemme and Herlitzius soars above a Vienna State Opera Orchestra in thunderous form, led by Christian Thielemann to celebrate the Staatsoper's 150th birthday in style.

Netrebko met the audience’s high expectations, as she does every time, conquering the challenges with her remarkable artistry. 

The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.

Despite a great cast, the Metropolitan Opera's revival of Semiramide bores with tacky costumes and no direction.

German theatre director Uwe Eric Laufenberg freely incorporates some of Stanley Kubrik’s horror story concepts into his Elektra, but in ignoring both Sophocles and Strauss, is a long way from shining.  

Strauss' penultimate opera is treated to a lavish if superficial staging at the Salzburg Festival, but the real rewards come from the musical performance of this unjustly neglected work.

Despite Angel Blue and Ryan Speedo Green, this revival of Franco Zeffirelli’s classic production lacked vocal colour.

Carole Wilson’s Herodias almost upstages Lise Lindstrom’s sexy Salome in a fine revival of Boleslaw Barlog's 1972 production in Vienna.

Within Mozart’s Don Giovanni, the darkest corners of the soul are exposed by music, stirred up by the lying, lecherous exploits of the aristocratic scoundrel, Don Giovanni.

Last night’s performance, the second after a serious casting face-lift held to that tradition, and was very well received despite its inherent flaws, thanks to some very fine singing.

David Robertson carried the Met Orchestra through one of the most brilliantly-conducted performances I’ve witnessed, though the music itself was not always impressive. 

Si la direction de Gustavo Dudamel et la mise en scène de Peter Sellars rendent justice au chef-d'œuvre wagnérien, la distribution inégale suffit à ternir le tableau.

Stephen Gould und Krassimira Stoyanova triumphieren in einer unaufregenden Wohlfühlinszenierung von Adrian Noble.

In der altbewährten Zeffirelli-Inszenierung glänzt vor allem Maria Nazarova als Musetta.

Carlos Álvarez und Simon Keenlyside sind ein Duo Infernale: wer Falstaff mag, wird nicht so schnell einen besseren erleben.

Eine ausgezeichnete Besetzung unter dem Dirigat von Ádám Fischer macht Lust auf die weiteren Ring-Abende.

Anna Netrebko und Piotr Beczała brillieren unter dem eleganten Dirigat von Evelino Pidò. Ein Pflichttermin für Diven-Verehrer und Freunde opulenter Ausstattung.

René Pape überzeugt bei seinem Rollendebüt an der Wiener Staatsoper als hellstimmiger Boris Godunow.