En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Konu Kim

Bruno Ravella's effective production was seen in Wexford in its original 1822 version, but Donizetti Opera opts for the composer's 1824 revision, throwing the spotlight onto Cecilia Molinari's excellent Abenamet. 

A terrific cast of principal singers lead by soprano Claudia Boyle, coupled with compelling direction from Bruno Ravella make for an exhilarating operatic experience in Donizetti's Zoraida de Granata. 

Not quite as innocent an account of opera buffa as others, but for quality of musicianship, Glyndebourne Tour's revival of Mariame Clément’s production of Donizetti's comedy hits all the right notes.

Lush visuals and appealing singing do not quite make up for a somewhat lacklustre revival of Nicholas Hytner's acclaimed 2006 production of Mozart's late comedy.

The performance at Bergamo Opera Festival proved that L'ange de Nisida can contest the place of La favorite in Donizetti's catalog.

The young singers spin any raw material into opera gold, sending the audience home as uplifted as if they’d just glugged a bellyful of Pimm’s.

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

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.

Herheim places the composer at the centre of his opera in a staging that's clever and erudite but somewhat cold; musical performances are mixed.

David Alden’s new production for The Royal Opera, referencing fascist Germany, is drab, but there are musical compensations. 

The Royal Opera's revival of Phyllida Lloyd's production is marked by two outstanding Verdian singers and a superb rendering of the score from Pappano and the ROH Orchestra.

Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.

Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.

Lengthy but full of melodic invention, Semiramide finally made her triumphant return to the Royal Opera in David Alden's fine new production.

Issues that cropped up in the first run of Mitchell's production have been ironed out. In the hands of a strong cast, a chilling interpretation of Donizetti's masterpiece.