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Craig Colclough's Don Pasquale is arrogant, boyishly hopeful, outraged and pathetic by turns, his singing free of silly buffo mannerisms, the voice grand.

Susan Graham had all the fun every mezzo-soprano witch, who can sing the role and disguise herself – when necessary – to look the part, deserves. 

Sir Bryn Terfel’s Falstaff is still a cherishable rogue as he takes on the title role in Robert Carsen’s joyous staging at the Royal Opera. 

Despite its title, the victims dominate Julian Grant and Mark Campbell’s caustic one-act opera. 

Don Pasquale is updated to 1950s Hollywood, delivering clever staging and slapstick humor while sacrificing none of Donizetti's musical artistry.

This revival of Catherine Malfitano’s excellent 2010 production features some splendid singing from Gwyn Hughes Jones as Cavaradossi – but is let down by some poor diction and varying drama.

English National Opera's new Tristan is at its best when responding to Anish Kapoor's stunning stage sculptures.

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.

Keri-Lynn Wilson produces an outstanding UK conducting debut in Richard Jones' faithful production of Puccini's Girl of the Golden West for ENO.

La mise en scène de Michael Thalheimer va à l’essentiel dans Macbeth, dernière production du mandat d'Aviel Cahn à la tête de l’Opéra de Flandre.

Tobias Kratzer inszeniert Verdis La forza del destino als schockierende und unbequeme Gesellschaftskritik.

L'Opéra de Flandre propose une nouvelle production du Lohengrin de Richard Wagner. Mise en scène sombre, très réussie, de David Alden.

Christoph Waltz setzt auf blanken Ernst statt Komik – doch ein gutes Solistenensemble, ein solides Orchester und ein Schachzug verhindern eine Falstaff-Enttäuschung.