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Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

Bruno Ravella's effective production was seen in Wexford in its original 1822 version, but Donizetti Opera opts for the composer's 1824 revision, throwing the spotlight onto Cecilia Molinari's excellent Abenamet. 

The Borusan Istanbul Philharmonic and Hungarian National Choir give a searing account of Mozart’s Requiem, superbly guided by conductor Carlo Tenan. 

Latvian soprano Marina Rebeka gives a star performance in first staged production of Donizetti's Anna Bolena in Amsterdam.

Claus Peter Flor directs La Fenice forces with a fine quartet of soloists in the Requiem by Mozart that somewhat unjustifiably carries the composer's name, prefaced by a companion-piece motet.

ROF presents the first, immature effort of the composer in the successful production by Davide Livermore, with a solid cast led by Jessica Pratt.

In a successfully streamlined staging, Stefano Landi’s obscure, overpopulated opera got the royal treatment by a superior cast and orchestra.

Roberto Abbado leads a strong cast in an inspired production by La Fura del Baus.

Mark Lamos' staging is a riot of colour and movement; George Souglides gives us a masterclass in costumery; fine Italian singing illuminates this Norwegian première for Rossini's madcap Il turco in Italia.

Christoph Marthaler siedelt Verdis letzte Oper an einem Filmset an und produziert dabei wohl keinen Kassenschlager; immerhin rettet die musikalische Seite den Abend vor dem Flop.

Emmanuelle Haïm, Calixto Bieito und ein hervorragendes Sängerensemble bringen eine verführerische Inszenierung auf die Amsterdamer Bühne.

Le nozze di Figaro se presenta en Les Arts en la producción de Emilio Sagi y bajo la dirección musical de Christopher Moulds.

Richesse vocale et surenchère visuelle sont au menu de l'ultime opéra mozartien à Liège, mis en scène par le duo Cécile Roussat-Julien Lubek.