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Turkish-Italian director Ferzan Ozpetek stages this new production of Madama Butterfly at Teatro San Carlo in Naples with a fine, penetrating approach.

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

In Jetske Mijnssen’s new production of Idomeneo, all order of human entanglements, sorrows and pain run rampant.

Apparently, the composer himself was a notorious cheater, we can assume that some of the unsavoury themes of his 1904 opera “Madame Butterfly” were close to the bone.

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

In the nearby city of Winterthur, Zurich’s fine International Opera Studio (IOS) recently premiered two short operas by Maurice Ravel, a flashy L’Heure espagnole and a lyrical L’Enfant et les sortilèges.