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Director Lotte De Beer's thoroughly realized, aesthetically rich and beautifully executed production of Janáček's masterpiece is anchored by strong performances from Nina Stemme and Svetlana Aksenova.

Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.  

Director Nikolaus Habjan took Oberon’s inherent miscellany and ran with it, straight into a retro-futurism aesthetic.

Without glitz, extravagance or the need to be expressly shocking, Robert Carsen's new production of Wozzeck at the Theater an der Wien is exceptional.

Jérémie Rhorer led a turbocharged performance of this rare Spontini opera, which, although it tires with its grandiose hyperbole, contains excerpts that deserve to be heard more often.

Hoffmann goes Steampunk: Renaud Doucet’s staging for the Volksoper is the exception to the sensible rule that “less is more”.

Too many paparazzi and not enough Puccini in Robert Carsen’s Manon Lescaut in Vienna.

Carole Wilson’s Herodias almost upstages Lise Lindstrom’s sexy Salome in a fine revival of Boleslaw Barlog's 1972 production in Vienna.

Puccini’s La fanciulla del West, in its new production by Marco Arturo Marelli, features excellent singing from top to bottom, tight orchestral playing, beautiful lighting, and a decisive lack of cowboys, saloons and other “Wild West” clichés. Set in a modern-day mining village in the middle of somewhere vast and gorgeous, the production focuses on the social interplay and struggles of the miners.

Alceste is the short and sombre story of a wife who gives her life to save that of her husband, King Admète of Thessaly, a deed which ultimately convinces the gods to reprieve both of them. Gluck, hoping to avoid the over-decorated vocal style then in vogue, set this plot to unadorned vocal lines to give depth to the underlying emotions.

Le célèbre opéra de Wagner était très attendu au Théâtre du Capitole, dans une production nouvelle et locale, menée par le metteur en scène toulousain Aurélien Bory et la baguette de Frank Beermann.

Amélie Niermeyers Inszenierung von Dvořaks Werk ist ein Totalausfall; Sänger und Orchester geben zusätzlich nicht viel Anlass zur Freude.

Dans une version inédite de l'opéra de Gounod, plateau vocal de haut vol et orchestre peu inspiré ont peiné à s'accorder.