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Barrie Kosky's divisive production returns to The Royal Opera but has lost its zing. 

Carè, Katzarava and Treichl give committed performances in a reprise of Cavanagh’s production.

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

“Love, love, love… that is the soul of genius,” said Mozart. In no other work does he demonstrate this affirmation more compellingly than in his forever-beloved opera, Die Zauberflöte. 

Director Jo Davies' staging of Mozart’s dramma giocoso for Nederlandse Reisopera is a high-spirited  affair packed with humour, where the emphasis is decidedly more on giocoso than on the dramma.

How, I wonder, is it best for an opera company to treat a revival of a well-aired, well-liked, decent but not particularly radical production of a top ten opera? This was what the Royal Opera had to contend with in this season’s revival of David McVicar’s 2003 setting of Die Zauberflöte: many in the audience will have known every note of the opera, and several will have been thoroughly familiar wi

Mozart wrote 20 operas during his relatively short life, the first being performed in Salzburg in 1767, when the composer was just eleven years old. However, it is Idomeneo, written and premièred when Mozart was the ripe old age of 25, which is usually considered to be his first mature opera.The opera takes place on the island of Crete immediately after the Trojan War.

Željko Lučić als Gast zu Haus: Wieder singt er eine hinreißende Partie an der Oper Frankfurt.

Così fan tutte in einer klugen und optisch ansprechenden Neuinszenierung: Schwarze und weiße Rokoko-Kostüme vor schwarz-weißem weißem Bühenbild, emotionale und tatsächliche Erdbeben.