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Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

A delayed season opening at the Teatro di San Carlo, but a night of epic grand opera as Claus Guth and Juraj Valčuha deliver a weighty Don Carlo.

Argentinian film director Damián Szifron's production is lauded in Naples, as are star soloists Anita Rachvelishvili and Brian Jagde.

Appearing in Naples after an absence of 34 years, Bellini's opera was given in a concert performance headed by Lisette Oropesa and Xabier Anduaga.

An impressive revival of Filippo Crivelli's 1998 production of Il barbiere di Siviglia, with a lively cast in Naples.

Barrie Kosky's well-travelled staging reaches Naples with fine performances from orchestra, chorus and singers mixed with some questionable musical and directorial decisions.

Marina Abramović's reflection on fame, artistry and death makes an enthralling Italian debut at the Teatro di San Carlo.

Gianni Amelio's traditionalist staging pleased the audience, and Nadine Sierra brought vocal grace and a flawless technique to the title role.

Despite the setting in a condo, Dante’s staging is basically traditional, to the point of even respecting the original story's 1830s fashions.

A concert performance makes our reviewer at the Teatro San Carlo pine for a return to staged opera. 

Antonino Fogliani conducts a concert performance of Bellini's rare bel canto opera. 

The Gala Mozart Belcanto featured internationally renowned artists who performed a high quality virtuoso concert.

What do you do when your planned season opener bites the dust? Fly in the stars and put on a concert performance of a verismo favourite. 

One of Puccini's less renowned works returns to the Teatro San Carlo after over thirty years away.

With their second open-air concert performance, Teatro di San Carlo scores another hit.

Anna Netrebko, Yusif Eyvazov and Ludovic Tézier captivate the audience in the scenic square a few metres from the opera house

Lorenzo Amato penetrates deep into the recesses of Bellini's opera. 

Film director Edoardo De Angelis sets his Tosca in a devastated, dystopiian suburb which mirrors and emphasises the opera's social degradation and immoral elements.

Willy Decker does not try to make the structure of the plot any clearer, mainly concentrating on the deeper meaning of the work. The cast was excellent.

A bland staging: at the end what really emerged was Rossini’s glorious music, its intelligent construction and perfect beauty.

A production apt for audiences who prefer a traditional, intimate staging of the most often performed of all operatic works.

Notwithstanding director Pippo Delbono's narcissistic excesses, his staging confirmed itself as effective and penetrating.

Turkish-Italian director Ferzan Ozpetek stages this new production of Madama Butterfly at Teatro San Carlo in Naples with a fine, penetrating approach.

One of Teatro San Carlo’s most cherished productions of recent years, with an excellent cast of singers and a director who steered at his ease into the libretto’s erratic changes of mood and atmosphere.

An impressive performance of Verdi's masterpiece Un ballo in maschera based on of the original libretto.

A terrific staging of Janáček's opera is successfully revived at the Teatro di San Carlo.

Jean-Paul Scarpitta’s San Carlo staging was almost as minimal as a biblical oratorio.

A trusty and convincing version of the masterpiece, with a cast of well-matched singers.

After a number of eccentric stagings, Mario Pontiggia's traditional production is a hit in Naples. 

A fresh, gleaming production of director Elena Barbalich, with as much vaudeville as possible

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

David Pountney’s 2014 staging was revived in Naples with good singing and empathetic conducting.

A suggestive staging barely supported by the musical side

Only soprano Eleonora Buratto’s Mimì added real warmth and pathos to Mario Pontiggi's staging. 

A movie-like staging for Puccini's most original opera at the Teatro San Carlo.

Giorgio Strehler’s production of Mozart’s Abduction, revived by Mattia Testi in Naples, is smooth and sophisticated.

A production which did not make a strong impression in Naples, despite a first rate cast. 

The staging highlighted Carmen’s rebellious traits more than her sensual exoticism.

A reading full of emotion from conductor Juraj Valčuha sets up one of the best San Carlo Orchestra’s performances of this season.

This production at the San Carlo was an excellent, emotional Lucia di Lammermoor, welcomed with empathy by the audience, like an old companion. 

A welcome opportunity to hear one of Tchaikovsky's less known operas in Naples.

In this staging of Verdi’s  masterpiece, the director reminds us that the ominous epilogue springs from its short prelude.

Suggesting that Otello was a migrant, like modern refugees, was not a great staging idea for a production which could count on an high-rate vocal cast.

A terrific double bill of two one-act operas: Der Zwerg (The Dwarf) by Alexander von Zemlinsky and Il tabarro by Giacomo Puccini.

A piece of Italian verismo well worth being in the repertoire, beautifully staged and sung.

Teatro di San Carlo closed its Opera Festival summer season with Le nozze di Figaro, which director Chiara Muti staged as a timeless classic

Juxtaposing Granados’ sensuality with the miserable story of Suor Angelica functioned by contrast, as they do not have anything in common.

This was the first performance in modern times of Giovanni Paisiello’s Zenobia in Palmira and was enjoyed at the Teatro di Corte (Court Theatre) in the Royal Palace. 

A revival of a traditional staging,  with great singers and full of dramatic energy

Good overall singing, but the Steinberg's conducting was completely subordinate to the stage directions.