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The Toronto revival of Michael Grandage’s straightforward but elegant production shields Puccini’s genius from contemporary critiques. 

Latvian soprano Marina Rebeka sings Violetta in Lorenzo Amato's traditional – but damp – staging. 

Sarah Giles' new production replaces Elijah Moshinsky's venerable staging, and the talented cast delivers a successful performance. 

Tan Dun conducts the LPO in the UK premiere of his Buddha Passion, hyped as “without precedent in the Western concert hall”. 

Gale Edwards' popular revival, set in the 1930s Weimar Republic, brings visual delight and showcases Australian-Chinese tenor Kang Wang as Rodolfo.

Francesca Zambello sets the whole opera as a flashback, showing, during the prelude, the heroine surrounded by doctors and nurses in a sanatorium for patients dying from tuberculosis.

As a blend of music, song, and dance with a Cirque du Soleil joie de vivre, Buddha Passion was an unforgettable theatrical experience.

Sinister aspects are stressed in Mozart's The Magic Flute at Leeds Grand Theatre directed by James Brining and conducted by Robert Howarth.

Even given a routine revival, McVicar's staging has much to recommend it, returning the opera to its literary roots. 

A thrilling finale to the 2017 Cardiff Singer of the World

The Met revived Jurgen Flimm's modern production of Salome, with Patricia Racette making a successfu last minute role debut in the title role.