En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Irish National Opera

Salome Jicia delivers a vocally impressive and emotionally committed Norma, but Orpha Phelan’s post-apocalyptic staging fatally weakens Bellini’s sacred tragedy.

Netia Jones’ modern reimagining intrigues more than it convinces, but still makes a strong case for Dvořák’s dark fairy tale. 

A tiny stage and five musicians prove no obstacle to Irish National Opera’s lively, witty Bartered Bride, where sharp casting and clever direction turn modest means into genuine delight.

Donizetti heads West in Cal McCrystal's riotous, laugh-out-loud L'elisir d’amore, where dazzling singing meets cowboy capers in a gloriously zany production for Irish National Opera. 

Ireland’s first Wagner opera in over a decade dazzles with a captivating production by Rachael Hewer for Irish National Opera. 

Michael Chioldi, Soraya Mafi and Bekhzod Davronov shine in Julien Chavez’ energetic production in Dublin’s Bord Gais Theatre. 

Strong vocals from the three principal singers and a sure musical direction from young conductor Farrell help offset some of the less than convincing elements to Olivia Fuchs' production. 

Venetian Baroque opera once had a raison d'être of spectacular and complex stagings, but Daisy Evans makes us see that other ways are possible.

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

Orpha Phelan directs a terrific cast of singers in an inventive and faithful production making for an evening to remember. 

Jack Furness turns Faust into an Oppenheimer-type scientist in a powerful, well-sung staging in Dublin's Gaiety Theatre. 

Polly Graham's take on Mozart's Così fan tutte is full of humour and political commentary, while the singing is a joy to hear. 

Brian Irvine and Netia Jones pull no punches in telling the story of Rosemary Kennedy, sister of JFK and Bobby, left permanently disabled by a lobotomy at the age of 23

Chavaz's post-modern mythological approach to Rossini's neglected opera Guillaume Tell pays off with some glorious singing from the principals and the INO Chorus. 

Tara Erraught stars as the eponymous heroine with Anna Devin as her nemesis Elizabeth I in Donizetti's Maria Stuarda, but Tom Creed's modern update fails to convince at the Gaiety Theatre, Dublin. 

Paul Curran's production of Carmen is entertaining and slick, with Paula Murrihy as a feisty heroine.

In its Royal Opera House debut, Irish National Opera's high-energy Bajazet provides a great evening for Baroque fans and sceptics alike.

Under director Annabelle Comyn’s modern setting, we have a moving, convincing Fidelio to resonate with our current age.  

A humorous and clever take on Humperdinck's Hansel and Gretel in the Abbey Theatre in Dublin. Good singing and acting in directors, Ahern and Lovett's interesting production. 

Excellent soloists, inventive sets and fine direction from Sheil and Phelan makes for an entertaining Cenerentola at the Bord Gais Energy Theatre Dublin. 

A thoroughly satisfying, entertaining production of Mozart's Die Zauberflöte from Irish National Opera. Anna Devin delivers a delightful Pamina and Nick Pritchard a convincing Tamino. 

Byrne is stunning in the title role while a strong cast of singers, orchestra, classic sets and dramatic acting make this a thoroughly enjoyable performance. 

Michael Barker-Caven sets Aida in a 21st-century war zone in the Middle-East, allowing the audience to focus on the human drama.

Joshua Bloom and Paula Murrihy excel in Irish National Opera's staging of Bartók's opera, although director Enda Walsh takes too many liberties with the libretto. 

Tom Creed's take on Offenbach's opéra fantastique works best in the Olympia act in this new production in Dublin. 

A wonderful ful-filled caper by the Irish National Opera of Mozart's The Marriage of Figaro with Erraught as Susanna and Miskelly as Cherubino really impressing. 

Top accolades go to soprano Mary Plazas, whose Duchess was at once despicable for her sense of entitlement and her racist and anti-Semitic views, and heartbreakingly vulnerable with her realisation at the end that "the only people who were ever good to me were paid for it".