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Could this be the last triumphant outing for the late, great Elijah Moshinksy's moving production of Rigoletto?

Gorgeous sets and costumes aren't quite enough to make this La traviata revival sparkle.

The Norwegian soprano is acclaimed at the Met in Richard Strauss' mash-up of commedia dell'arte and tragic opera. 

The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame. 

A much-loved 1991 production evoking Fellini’s post-war glamour and grime is revived with three talented young principals, including Mongolian baritone Amartuvshin Enkhbat in the title role.

The real triumph of Michael Fabiano's role debut as Werther lay in controlling the bold intensity of his voice in favour of a sweet and lower-key level of passion – a match for Massenet's frequent choice of the cello.

An impressively cast revival for Verdi's one-time neglected masterpiece at Covent Garden.

A spirited account of Verdi's early opera in its first professional UK staging, nowhere near as “ugly” as Verdi would have had us believe. 

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

The role of Luisa, some of the daintier coloratura aside, fits Sonya Yoncheva like a glove. 

A searing, edge-of-your-seat spinetingler from Elijah Moshinsky makes the strongest possible case for Verdi's first Macbeth, ideally suited to the proportions of Buxton's beautiful Opera House.

Elijah Moshinsky’s 15-year old production of Verdi’s Nabucco has returned to the Met, ostensibly as a vehicle for Placido Domingo.

Welsh National Opera may have reached the ripe old age of seventy but it's very much alive and kicking.

A well-worked revival of Elijah Moshinsky's production of Rossini's Barber of Seville offers gales of laughter and vocal delights at the Sydney Opera House, with starring roles for Paolo Bordogna, Anna Dowsley and Warwick Fyfe

Giuseppe Verdi’s Don Carlos has finally arrived, for the first time in the 21st century, as a much anticipated highlight of Opera Australia’s current season. 

Verdi's rarely-performed early masterpiece gets a succinct, powerful outing in top class style at Buxton. 

Plush costumes and lavish sets make up for shortfall in music and singing in Opera Australia’s La traviata. 

I left the Sydney Opera House last night feeling vaguely dissatisfied, and yet a bit puzzled at my dissatisfaction. La Traviata is chock-full of Verdi’s most glorious music, and well though I know the score, I wasn’t feeling in the least jaded to begin with.

Last night’s Covent Garden revival of Verdi’s Simon Boccanegra was a study in time slips. On stage, there is the 25 year slip between the end of the prologue, when Simon is named Doge of Genoa, and the dramatic events of Act I. There is the 24 year gap between the disastrous première of the original opera and the triumph of the heavily revised 1881 version.

The devil, they say, has all the best lines. In yesterday's performance of Verdi's Otello at the Met, the villain was simply sensational. Falk Struckmann's delivery of Jago's Credo in un Dio crudel (“I believe in a cruel God”) was a masterpiece of nihilism, combining power and richness of voice with a tone of pure, matter of fact evil.

Read our review of Renée Fleming's production of Verdi­'s Otello in its 2012 broadcast from the Met Opera in New York.

Giuseppe Verdi and Arrigo Boito's Otello is renowned as one of the few truly successful Shakespearean operas, and while it's mostly a masterpiece on its own terms rather than Shakespeare's – countless scenes and characters are cut, and the very Verdian drinking song goes on far longer than you'd probably expect – there remains a hint of the brilliance of characterisation with which Shakespeare's p

Opera Australia’s production of the Rossini magnum opus The Barber of Seville is a period piece, featuring an era a century later than the one in which it was composed. In this revival of Elijah Moshinsky’s production, director Cathy Dadd masterfully transports the action from the classical period of the 1810s to the silent movies of the 1910s.