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Bedřich Smetana’s patriotic opera Dalibor is given a rare outing at Bard College, directed by Jean-Romain Vesperini and conducted by Leon Botstein. 

 Michael Cavanagh's sleek new production, designed by Erhard Rom and conducted by James Conlon, transforms the 18th-century opera into a Broadway musical, score by Mozart.

The Cincinnati May Festival pairs a deeply-felt Mozart Requiem with a new work for chorus and orchestra by Julia Adolphe.

Barrie Kosky's stark, spare La bohème gave it a rare spark of humanity focused on Marina Costa-Jackson's haunting Mimì, whose existence became the central focus even when she wasn't singing.

After appearances in London and New York, Phelim McDermott's bold and imaginative production of Philip Glass’ Satyagraha arrives in Los Angeles.

Disparaged by critics and his fellow musicians, Tchaikovsky's The Maid of Orléans is performed by Odyssey Opera. 

From a purely chronological standpoint, the original, 1750 version of Gluck’s Ezio is a pre-reform opera. A performance as carefully curated and persuasive as Odyssey Opera’s, however, proves how deceptive chronological classifications can be.

Andreas Homoki schafft mit seiner Neuinszenierung ein psychologisch raffiniert konstruiertes Gesamtkonzept.