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Great singing and imaginative spectacle cannot turn an ambitious operatic premiere into a convincing whole. 

Inspired by Annie Ernaux’s The Years, Philip Venables’ new opera widens the canvas to take in the whole of Europe’s postwar generation. 

Johann Strauss II's Die Fledermaus, was never meant to challenge grand opera for profundity and Barrie Kosky pokes fun at Viennese high society in his riotous staging. 

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

Forget Rimsky-Korsakov, forget the Polish act... Stephen Wadsworth's new production for The Met returns to Mussorgsky's original 1869 version of his Russian historical epic. 

The director's world-renowned 1991 conception of Benjamin Britten's 1960 operaA Midsummer Night's Dream finally makes it to America. 

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.

Enlightenment indeed at Lincoln Center as the Mostly Mozart Festival opens with a gloriouds hodge-podge. 

Sung in English, a performance of Káťa Kabanová lacked the expressive power of the original, but exposed Juilliard Opera students to the marvels of Janáček’s musical style.

Sous la direction sensuelle de Leonardo García Alarcón et dans une mise en scène survitaminée de Ted Huffman, les jeunes étoiles de la distribution proposent une incarnation formidable de l'opéra de Monteverdi.