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Sir Mark Elder celebrates 50 years at Covent Garden by returning to his first opera there in 1976 – Verdi's Rigoletto – in a revival of Oliver Mears' excellent 2021 production.

What makes Stéphane Braunschweig's production exceptional is its ability to reveal the opera's beating heart without resorting to didacticism. 

Through brilliant singing and layered acting, Javier Camarena, Mané Galoyan, and Igor Golovatenko drive a Rigoletto to warm a traditionalist's heart. 

Klangforum Wien finishes a far-reaching excursion into the boldest realms of modern music with a flourish.

National Ballet of Japan’s Nutcracker by Wayne Eagling is a family favourite, with lead dancers Ayako Ono and Yudai Fukuoka giving a flawless performance as the leads. 

What's a director to do while we wait for technology to catch up with the complexities of the human condition?

The plot thickens as "episode two" of Bayreuth's new Ring muddies the waters of Siegfried’s paternity and Wotan comes to regret his actions.

Kasper Holten's decade-old production begins to show its age, in a routine revival with undistinguished soloists.

It is a high order to mount a captivating performance of a work so widely known and performed as Handel's Messiah. 

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

The Deutsche Oper's production of Rossini's sparkling occasion piece is big on gags but short on stardust.

Klára Kolonits's marvellous Lucia is the only thing brightening the bleak performance of the Hungarian State Opera's new Lucia di Lammermoor.

In Janáček's searing excoriation of small town social mores, superb orchestra, singing and acting make this revival of David Alden's Jenůfa into an unmissable evening of opera.

Hungarian State Opera mount a successful première of Thomas Adès's take on Shakespeare, with the show stolen by Laure Meloy's Ariel.

Viel dekorativer Tand, wenig Aktion und Bewegung: zu Wagners Tristan und Isolde spielt in Bayreuth derzeit die Musik die Hauptrolle.

À la Royal Academy of Music, Semele de Händel offre une expérience jubilatoire et rafraîchissante. Mise en scène ingénieuse et jeunes chanteurs talentueux sont au menu de cette production.

Leider können auch die schönste Musik, ein bestens disponiertes Orchester und ein wunderbares Sängerensemble den Gesamteindruck des Abends nicht retten.

L'Opéra Comique présente une version « allégée » de La Bohème de Puccini. Une démocratisation du genre lyrique ? La question est posée...  

Mit Pavol Breslik und Adriana Kučerová gab sich im Slowakischen Nationaltheater in einer Vorstellung von Smetanas komischer Oper eine Traumbesetzung die Ehre. 

C'est avec un certain plaisir que cette Belle Hélène nous amène sur les rives d'une Grèce en crise... Nous laissant un peu sur notre faim d'une certaine rutilance, l'orchestre ayant été passablement dégraissé...

Stehende Ovationen für hochklassige musikalische Leistungen in Dmitri Tcherniakovs Produktion.

La saison lyrique de l’Opéra de Dijon s’ouvre sur une production de Castor et Pollux qui ne laisse personne indifférent.