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Anthony Minghella's production remains a feast for the eyes, but this performance failed to gel into a dramatic whole. 

Weill's neglected "American Opera" opens in Madrid with a refurbished production by John Fulljames and a strong cast led by Patricia Racette.

Mohammed Fairouz’s second opera, The New Prince, premiered in Amsterdam, is directed by Lotte de Beer as a colourful, dizzyingly fast-paced  revue.

The Met's brought back its Die Fledermaus set in the turn-of-the-century Vienna in a glittering production with a winning ensemble of singers.

David Robertson carried the Met Orchestra through one of the most brilliantly-conducted performances I’ve witnessed, though the music itself was not always impressive. 

Read our review of Laurent Pelly's production of Massenet's Manon in its 2012 broadcast from the Met Opera in New York.

Shostakovich's strange opera was reprised at the Met for the 2013 season and makes for excellent excitement. Somehow, the absurdities of the story, music, and production unite to create an experience that is just absurd enough to work.

The 2012 Festival d’Aix-en-Provence began its four-week feast of opera and music with Mozart’s Marriage of Figaro—and could there be better a way? Nothing can beat the sublime company of Mozart, Da Ponte and Beaumarchais on a summer evening in the open-air Théâtre de l'Archevêché.

La reprise de la mise en scène chorégraphiée d'Anne Teresa De Keersmaeker, créée en 2017, échoue à convaincre – au contraire de la direction musicale captivante de Pablo Heras-Casado.

L'ouvrage lyrique méconnu de Kurt Weill bénéficie d'une distribution américaine inspirée, d'une mise en scène agréablement surprenante et d'un excellent Orchestre Philharmonique de Monte-Carlo.

Véritable précis de monadologie aux accents newtoniens, dont l’acuité et la précision le disputent à la chaleur et au charnel dans un tourbillon de couleurs, le Cosí de Keersmaeker mêle savamment mouvement et harmonie dans un geste aussi chorégraphique que musical. Pour un résultat saisissant !