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The real sensation of the evening was Alex Esposito – this time, Gounod's Faust should have been titled Méphistophélès...

Christophe Gayral gives Vivaldi's Farnace a contemporary update at the Teatro Malibran, but there are musical compensations. 

The lack of a curtain has forced the director to employ a new inventiveness, if only with partially success.

Maestro Myung-Whun Chung leads an almost all-Italian cast in an impressive performance of Verdi’s most ambiguous masterpiece.

Il re pastore seems to be a work that deserves to be included in the repertoire for its undoubted qualities and not only because it foreshadows the genius of the works that will follow.

Three sopranos and three tenors express a catalogue of "affections" in musical numbers full of coloratura and virtuosic effects that are already 100% Mozart despite the young age of the composer.

This is one of Michieletto's simplest stagings yet, the imagery used to a minimum to allow for focus on the psychological core.

La Fenice presents Rossini’s monumental farewell to Italy and to 18th-century tradition in Ligorio’s elegant new production with a superb cast.

Ceresa’s flamboyant production from the Festival della Valle d’Itria is revived in Venice with a strong cast under the baton of Diego Fasolis.

Damiano Michieletto's new production in Venice sets the operetta in the 1950s. 

A zinging account of Verdi's score, making up for Daniele Abbado's nondescript production. 

Fifty years ago, on 4 November 1966, Venice was struck by a terrible flood. Now this is the subject of a new opera by composeer Filippo Perocco premiered at the Teatro La Fenice.

Juditha triumphans in a minimalist production at Venice's Teatro La Fenice. 

Andrea De Rosa’s atmospheric production of Simon Boccanegra uses a series of landscapes projected onto a cyclorama to evoke the Gulf of Genoa. 

This dark production of La traviata may have obscured some of the more romantic elements of Verdi’s drama, but the music had all of the vitality to match La Fenice's sparkle.