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The French premiere of the British composer's opera will be the undisputed high point of the Grande Boutique's season: a perfect confluence of music, staging and cast.

Ambur Braid excels in the title role in the Canadian Opera Company’s starrily cast revival of Atom Egoyan's production.

The Orchestre symphonique de Montréal and Rafael Payare offer up a thrilling Beethoven 9 to close the season.

In the expert hands of both director Warlikowski and conductor Kent Nagano, the sequel to Bernstein's Trouble in Tahiti proves to be even darker and more dramatic.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

Yannick Nézet-Séguin and the Orchestre Métropolitain offered a delicately detailed reading of Das Lied von der Erde with two French Canadian soloists.

In its 25th anniversary season, Richard Eyre's production continues to attract the world's great sopranos to the role of Violetta, the latest being Aleksandra Kurzak. 

Cecilia Bartoli leads a great cast in Gluck’s masterpiece, presented in Zurich in a new insightful production by Andreas Homoki.

A fresh approach to two late Mozart works earned the adulation of a Montreal Symphony Orchestra audience.

Cecilia Bartoli once again takes Zurich by storm under the guiding hand of Maestro William Christie for a wonderful evening of Handelian fun.

If ever a new production of a Mozart opera had a riveting backstory, this one is it. 

Sir Bryn Terfel’s Falstaff is still a cherishable rogue as he takes on the title role in Robert Carsen’s joyous staging at the Royal Opera. 

Adès opera resists explanation, and the ambiguity of the story drives much of its compelling nature. 

After all the speculation, Jonas Kaufmann made his role debut as Otello at The Royal Opera – an impressive, if not unqualified, success. 

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

Kent Nagano and OSM wowed with cerebral approach to Carmina Burana.

The Salzburg Festival audience warmly applauded Thomas Adès, Tom Cairns and all musicians for a rounded and gripping première.

Zurich’s revival of Georges Bizet’s three-act opera Les pêcheurs de perles (The Pearl Fishers) pulls out all the stops, but it was not to everyone’s liking.

One has to admit that the 2015 vintage of this operatic Grand Cru, with us since 1999, is a particularly fine one. To be consumed with immoderation!

After Cavalli’s Ercole Amante in 2009 and Handel’s Deidamia in 2011, De Nederlandse Opera is continuing its exploration of obscure Baroque operas with Gluck’s Armide, until 27 October.I always wondered why Armide was Gluck’s own favourite work.

Ambroise Thomas’s Hamlet has riled and infuriated ever since its 1868 première, though for many it is merely an object of derision: one 1869 correspondent to the satirical magazine Punch admits not having seen the work but nevertheless disparages it as ‘Omelette’, a musical ‘burlesque’, and pillories Thomas’s fondness for drinking songs with the lines ‘To drink or not to drink? That is now the que

Ewig faszinierender Shakespeare in zeitgenössischer Musik und modernem Gewand, das „hat was“.

Si la mise en scène d'Andreas Homoki déçoit tant elle est incompréhensible, la performance de Gaëlle Arquez dans le rôle-titre et les couleurs de l'Orchestre des Champs-Élysées dans la fosse méritent le détour.

Sabine Devieilhe triomphe dans Lakmé à l'Opéra Comique, dans un spectacle visuellement un peu terne mais musicalement superbe.

À l'Opéra Bastille, le retour de la mise en scène d'Andrei Serban produit un Otello mitigé, où l'étincelante Aleksandra Kurzak répond à un Roberto Alagna défaillant.

La très attendue mise en scène de La flûte enchantée de Mozart au Festival d'opéra de Québec a valu un triomphe au metteur en scène Robert Lepage, qui a procédé à un véritable dépoussièrage de l'œuvre. 

Le Théâtre du Capitole accueillait Christophe Rousset et sa troupe pour l’Orphée et Eurydice de Gluck, avec un remarquable Frédéric Antoun dans le rôle d'Orphée.

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 !

Cette saison, l’Opéra Comique fête ses 300 ans. Intitulé « Si l’Opéra Comique m’était conté », le gala célébrant le tricentenaire de l'institution retraçait son histoire en donnant un aperçu des créations emblématiques du lieu. Une frise chronologique efficace et très bien servie.