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Exceptional singing enlivens a flawed production, which takes liberties with the tone and tenor of Beethoven's sole opera.

Lyric Opera of Chicago revives its diverting and divisive 2015 original production by Barbara Gaines, who does it like a Shakespearean sex farce. 

A well thought-out, fearless, affirmation of hope which drew its listeners ever upwards into the realm of ecstasy.

Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

The latest revival of the company’s 2007 stylish production of Gluck’s operatic take on the Orpheus myth is enlivened with superb singing and dancing.

The Australian director's 2019 production of Handel's satirical comedy-thriller arrives in Amsterdam, with a cast led by the fabulous Stéphanie d'Oustrac. 

After its Met Opera debut earlier in the year, Simon McBurney's popular staging returns to Amsterdam. 

Peter Mattei's smooth-as-silk baritone leads a handsome cast in the Metropolitan Opera's bleak new production of Mozart's great dramma giocoso. 

Despite an incapacitated Ying Fang miming the role of Susanna, the brilliant cast makes Barrie Kosky's new production worth the night out in Vienna. 

A luxuriously-cast revival takes a staid production of Mozart's Idomeneo to new, exciting heights. 

Fazıl Say’s concerto for piano four-hands gets its US premiere with siblings Lucas and Arthur Jussen at the keyboard. 

Shortened and simplified to adapt to restrictions, David Bösch's 2016 production succeeds in bringing Mozart's brilliant opera to a modern setting with a splendid cast of singers.

The Met's revival of Jean-Pierre Ponnelle's 1984 production of La clemenza di Tito is given a new breath of life with superb conducting and an excellent ensemble of singers.

Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.

A great close to Maher's Second Symphony in Boston, paired with an earthbound curtain raiser. 

Classy performances from Leonidas Kavakos and Ying Fang, joining Christoph Eschenbach and the Verbier Festival Orchestra in a polished Berg Violin Concerto and a sublime Mahler 4.

Laurent Pelly’s staging provided some of the most memorable moments in this performance of Cendrillon. 

Olivier Tambosi’s controversial production of Janáček's Jenůfa first appeared at the Met in 2003.

A winning ensemble of singers led by James Levine makes the revival of Rossini’s early opera a success.

James Levine returned to Ravinia to conduct the Chicago Symphony for the first time since stepping down as music director in 1993 in a monumental performance of Mahler’s Second Symphony – the same piece with which he debuted in 1971.

The Met brought back its traditional staging of Tannhäuser with remarkable performances by the Orchestra, Chorus and soloists, with two outstanding male singers.

The Met's holiday special, Hänsel und Gretel, is a treat not only for young children but for adults with its sophisticated music, excellent singing ensemble and orchestra playing, as well as its witty production.

Unter der Leitung des Dirigenten Leonardo García-Alarcón präsentieren der Chœur de chambre de Namur, das Verbier Festival Chamber Orchestra und ein buntes Solistenquintett eine uneinheitliche Deutung von Bachs Sakralwerk.

Wie es sein soll: Kammermusik als Ensemblekunst – und gleichrangig reihte sich der Stardirigent ein.

Sous la direction à la fois incisive et accueillante de Raphaël Pichon, l'ensemble et le chœur livrent une interprétation exceptionnelle du monument de Bach, avec des solistes au sommet.

Eine tonal und emotional perfekt passende Dramaturgie und künstlerische Ausführung fügte das bisher bestgehörte Mozart-Requiem mit vielen unbekannteren Vokalwerken zu einer klanggewaltigen Totenmesse.

Excellents en Don Giovanni et Leporello, Peter Mattei et Alex Esposito s'illustrent dans une mise en scène convaincante de Claus Guth, malgré un penchant pour le giocoso au détriment du dramma. La direction d'Antonello Manacorda déçoit.

Barrie Koskys Inszenierung ist ein verführerisches Gesamtkunstwerk.

Der russische Regisseur inszeniert den Freischütz als ironisch-sarkastische Oper über die Oper – jedoch ohne Freischütz.

Im nachvollziehbareren Lichte der Erzählungen bezeugten die Beifallsstürme des Publikums die große Sehnsucht nach dem baldigen Zurückkommen dieser insgesamt heiländischen Lebensveränderungen einer Bach-Trilogie.

Le chef-d'œuvre mozartien est desservi par une lecture scénique qui tombe parfois dans le contresens, mais la distribution et la direction de Gustavo Dudamel en font une belle réussite musicale.