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In this historic reopening, Lisette Oropesa offers a magnificent performance, dramatically overwhelming and vocally very unique.

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. 

Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

Nicola Raab's production doesn't quite provide the bold rethinking it promises, but stylish execution and a fine cast make for an effective modern Traviata. 

A production apt for audiences who prefer a traditional, intimate staging of the most often performed of all operatic works.

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 Zaharia inhabited her role, the opera became almost entirely about her, to the extent that one wanted to watch her every movement and hear her every syllable.

On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.

The Albanian soprano, who made a spectacular jump-in for her house debut in Richard Eyre's production in 2008, makes a splendid return. 

A new production of La Traviata, colorful and conventional, brings little new ideas but is a fine vehicle for a fine performance conducted by Yannick Nezet-Seguin that features a trio of excellent singers.

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

A strong new Traviata from Washington National Opera with the welcome house debut of Venera Gimadieva as a fabulous Violetta.

An emotionally intense Violetta from Mané Galoyan in Tom Cairns' darkly challenging La traviata launches Glyndebourne Tour's 50th season

Svoboda’s mirrors continue to provoke interesting considerations. Titled above the stage, they project a birds-eye-view of the action to the audience, making voyeurs of us all.

Daisy Evans' take on Verdi's iconic tale of love stymied by the cruelty of others is characteristically innovative and insightful, while also blessed with a remarkable central performance from Anna Patalong. 

Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

Despite the entertainment value and striking imagery, Kramer's production is a surprisingly dull affair, with curiously little chemistry between the lead couple.

A suggestive staging barely supported by the musical side

Tokyo's New National Theatre is currently celebrating its twentieth anniversary season with three new productions and revivals of their most popular productions including Vincent Boussard’s minimal yet colourful Traviata.

There are no answers, nor indeed many probing questions, in this Scottish Opera revival of Sir David McVicar’s production from 2008, but it is sumptuous and enjoyable.

Glyndebourne's second Traviata cast of the summer saw the festival field three principals worthy of any major international opera house. 

Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.

Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.

A gripping performance of one of opera’s masterpieces in Berlin. 

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

Netrebko's Violetta is now fuller in body and voice than in her former incarnation. Goodbye to the fresh-faced damsel we saw in Salzburg; hello to a larger-than-life courtesan in her twilight years.

About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.

Richard Eyre's uncomplicated production remains as watchable as ever; Joyce El-Khoury makes a promising Covent Garden debut.

Two fascinating casts make Peter Konwitschny's stripped-down Traviata a must-see artistic event in Seattle.

Although with a promising concept, the Hungarian State Opera’s new production ultimately proved underdirected.

West Green House Opera opened its season with a cast of rising stars and veterans in an simple, but elegant production of Verdi's classic La traviata.

Even us Verdi enthusiasts experience something of a heavy tread as we wend our way to yet another Traviata at the Royal Opera House.

Robert Wilson's new production of La traviata in Linz succeeds in communicating the emotional depth of Verdi's tragedy despite his stylized minimalism.

This revival of a 2012 staging by Ferzan Ozpetek tells the story efficiently, while conductor Nello Santi only at times made us experience all the emotional depths this opera contains.

An unsympathetic production of La traviata fails to impress at the Staatsoper. 

Plush costumes and lavish sets make up for shortfall in music and singing in Opera Australia’s La traviata. 

Both the staging and the music of the Bayerische Staatsoper's Traviata disappoint.

Any revival of La traviata stands or falls by its principals and their ability to inhabit the roles rather than merely sing them prettily. A good revival director helps. 

In his production of La traviata for the Swedish Royal Opera, Kasper Holten puts Violetta in a strip club and on the streets. Both the staging and the music are excellent, though the cast's acting is uneven.

Tatyana Gürbaca's new production of La traviata in Oslo may be on the heavy-handed side, but still offers fascinating new insights into Verdi's opera.

Sonya Yoncheva shines in a production which proves that the story of Verdi's opera still feels current today.

Routine took hold of the Teatro Real in its production of La traviata, despite baritone Juan Jesús Rodríguez's best efforts.

Two years ago, when this controversial production by Peter Konwitschny was first seen at English National Opera, I was completely knocked sideways by it. Could it deliver the same emotional blow to the solar plexus this time around?

Willy Decker’s 2010 bleak, fascinating, controversial production of La traviata has returned to the Met with an entirely new cast.

This dark production of La traviata may have obscured some of the more romantic elements of Verdi’s drama, but the music had all of the vitality to match La Fenice's sparkle.

Tom Cairns’ Glyndebourne production features svelte costumes and sets, yet – unlike Verdi’s response to Marie Duplessis’ fate – Violetta’s tale left me entirely unmoved.

Musically and emotionally, this Traviata mostly ran on a low flame, yet Maria Bayankina convinced as Violetta.

Opera North's La Traviata at the Grand Theatre, Leeds, makes an excellent start to Opera North's new season.