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Cecilia Ligorio directs the first new production of Mozart's early opera at the Opera di Roma since 1988. 

A good, mostly Italian cast brings alive one of the most famous productions by the great director Giorgio Strehler, under the baton of Andrés Orozco-Estrada.

The Maggio postpones Pountney’s expected new production of Don Giovanni, presenting Ferrara’s production from Spoleto instead, with a good cast in the hands of Zubin Mehta.

Five highly dissatisfied lead characters find only disastrous or ambiguous outcomes. Yet there are few greater operas than this.

Despite the setting in a condo, Dante’s staging is basically traditional, to the point of even respecting the original story's 1830s fashions.

Sven-Eric Bechtolf's staging holds a balance between philosophy and humour, but Adam Fischer's vivacious conducting is the real star of the evening.

Annabel Arden's superb production of Donizetti's classic makes a welcome return for the Glyndebourne Tour in a taut revival led by two excellent principals.

The best-laid plans go astray when the noble Count Robinson falls for the wrong sister, setting up a lovely night of opera.

Graham Vick stages his Marriage of Figaro in todays vulgarity, but he is not fully convincing.

Muti's reading of the score is extraordinary, both for its sophistication and originality.

Le metteur en scène français transpose avec succès l'action dans l'Angleterre des années 1960, bien suivi par l'ensemble de la distribution, très homogène.

Le metteur en scène allemand respecte le caractère propre à chaque partie du trittico puccinien, tout en tissant des liens subtils entre les œuvres.