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The world is gloriously redeemed in the gripping final installment of San Francisco Opera's Ring cycle.

At San Francisco Opera, conductor Donald Runnicles and a top-notch cast deliver a delicious Rheingold in Francesca Zambello's colorful production.

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

Dangling and turning like shards of a giant overhead chandelier in Don Giovanni’s banquet hall, this is an evocative multimedia production that tantalizes the senses while shining new light on Mozart's genius. 

If you love Verdi's inventive music, enjoy fabulous male voices in particular, and appreciate great opera conducting with exquisitely sensitive orchestral playing – then this Rigoletto is a must.

In the end, Newbury’s production leaves you with more questions than it answers. 

A dream cast come true in Don Carlo at San Francisco Opera. Emilio Sagi's direction is the only weak link in this production.

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

This performance marked Sir Mark Elder’s debut with the company and, beginning with the overture, he offered his individual interpretation of the score. He had an enormous range of dynamics and his tempi varied widely with the emotional values of each scene.

An exciting cast starring Michael Fabiano and Leah Crocetto makes up for a slow and static production at San Francisco Opera's opening night.

This production's consistent visual beauty forms the setting for this Don’s musical approach. It is a testament to this ensemble that Mariusz Kwiecień can’t steal the show in spite of his utterly commanding physical and vocal presence as the Don.

Mona Somm delivers as a fiery Brünnhilde in a most satisfying performance of Götterdämerung, supported by a strong cast and orchestra.

The third instalment of the Ring in a weekend continued to feature solid singing and orchestra playing as Siegfried played through the night. 

Wagner’s music proves that one does not need elaborate sets nor famous singers for a satisfying performance.

After Sunday night’s breathtaking Das Rheingold, it was difficult to imagine Die Walküre could be more beautiful or committed. Seattle Opera outdid themselves with this second installment of the Ring cycle, which featured energetic playing and singing, gorgeous stage pictures, and devastatingly believable acting from all of the singers.

Some Ring cycles are based on ideological concepts; Seattle Opera’s current Ring cycle is based on a place. That place is the Pacific Northwest of the United States, home to such extraordinary natural beauty that stage director Stephen Wadsworth has deemed it fit for the gods.

Of all the mischievous dramatic reversals that line Rigoletto’s plot – the hunchbacked jester tricked into abducting his own daughter, the daughter tricked into loving the brainless Duke (posing as a penniless student), and the terrifying reunion of father and daughter in a scene of murder – is not the most breathtaking, after all, the fact that the opera begins with a convincing display of the de

On Monday night – and, one might guess from the way the opera crowd gripped their collars as they swept into the Civic Opera House, the coldest night in Chicago this winter – a new La Bohème opened at the Lyric (it’s on loan from the San Francisco opera).