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The composer's magnum opus, unjustly neglected in English-speaking countries, receives magnificent treatment from Andris Nelsons and the Boston Symphony Orchestra, anchored by David Butt Philip and Christine Goerke.

Questionable conducting aside, The Royal Opera's latest revival of Damiano Michieletto’s fluid production of the famous operatic double-bill is terrifically executed by two excellent casts.

Two outstanding performances by young singers light up a splendidly crafted revival of Caurier and Leiser's colourful production.

Opening the 2022 Rossini Opera Festival in Pesaro, Hugo de Ana's new production plunges Le Comte Ory into Hieronymus Bosch’s lusty triptych. 

Michieletto's slightly cold take on one of Donizetti's greatest comedies is amply compensated by some spectacular singing, with Pretty Yende's Norina a particular delight.

Despite the setting in a condo, Dante’s staging is basically traditional, to the point of even respecting the original story's 1830s fashions.

This third revival of Richard Jones' production is thoroughly competent but struggles to rise above the routine.

With an unsurpassed cast, devoted conducting and a brilliantly imaginative staging, the Bavarian State Opera's new production of Korngold's Die tote Stadt is a triumph.

The COC's revival production of Puccini's La bohème is an enjoyable trip to the opera but it won't blow your socks off.

Gaetano Donizetti’s Maria Stuarda is perhaps most famous for a single and highly emotional scene in which two monarchs engage in a venomous confrontation. One is doomed to die. 

Even stronger than first time round, Michieletto's impressive staging is complemented by an outstanding double role debut from Hymel and a heartbreaking Santuzza from Elīna Garanča.

Questionable identities, clandestine messages, love and money are the stuffs of Gioacchino Rossini’s Il barbiere di Siviglia, revived again in Zurich.

A powerful and emotional staging by Bieito with five-star performances from both leads.  

The second part of the traditional Cav & Pag double bill on stage at Turin's Teatro Regio

Deuxième reprise de cette production signée Krzysztof Warlikowski, qui se distingue par une distribution d’une belle homogénéité et la direction raffinée de Simone Young.

Maria Stuarda, bajo la dirección de McVicar y Pérez-Sierra, resultó ser una representación redonda, con gran sentido del espectáculo y un equilibrio que situa al canto en el centro de la misma.

La mise en scène de Claus Guth laisse encore une fois sceptique voire irrite, tandis que la direction musicale de Michele Mariotti déçoit. Aylin Pérez compose en revanche une Mimi touchante.

Manon fait son retour à Bastille dans un spectacle cohérent, avec une distribution réservant quelques belles surprises – mais une direction d'orchestre lorgnant un peu trop vers l'opéra...

Le nozze di Figaro se presenta en Les Arts en la producción de Emilio Sagi y bajo la dirección musical de Christopher Moulds.

Wie üblich beendete eine weiter konzertante Oper den Opernreigen der diesjährigen Salzburger Festspiele und in diesem Jahr war dabei Donizettis Attentäter-Drama Lucrezia Borgia zu erleben. Der Belcanto-Klassiker begeisterte mit mitreißenden Melodien und hervorragenden Solisten.