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From the Royal Opera in London to the Metropolitan Opera in New York, read the latest opera reviews from around the world and find world class opera performances near you. Our listings let you search for the top opera houses and the stars of today, to small venues showcasing new opera talent and just one click away you can book tickets from the Opera Houses themselves. From our Opera home page, you can read a range of fascinating articles and interviews too.
January 2017
Evening performance
Matinee performance
Reviewed in Turin

An orthodox Pagliacci stands alone in Turin

The second part of the traditional Cav & Pag double bill on stage at Turin's Teatro Regio
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Reviewed in New York

Star turns in Met's new Roméo et Juliette

Vittorio Grigòlo and Diana Damrau repeated and cemented their intense on-stage relationship at the Met in Bartlett Sher's new production of Roméo et Juliette.
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Reviewed in Sydney

Biographica: a mazy musical melange

Mary Finsterer has managed a musical melange that crosses effortlessly and delightfully from the Renaissance to today. If only Tom Wright's book and libretto had been a match, this would have been a work worth taking to the world.
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2016 in stats

Gergiev tops Bachtrack’s 2016 classical statistics

Some people crack open the Champagne to launch the New Year, but here at Bachtrack Towers the corks have barely popped before we dive into the classical music statistics for the year just ended.

A sense of theatre: Sir Antonio Pappano

Sir Antonio Pappano reflects on recent performances of Fidelio and Norma and how his Orchestra dell'Accademia Nazionale di Santa Cecilia has evolved and the difficulties staging Verdi.
Opera in 2017

Insider Guide: Key new opera productions in 2017

As another year dawns, it’s time to look ahead to some of the key highlights for 2017. Here is our selection of what to look out for, along with a couple of tips for new productions yet to be announced.
For Bachtrack members

Bachtrack Insider Guide: Opera House tips II

Want to know where to sit? When to book?Our reviewers offer an inside guide to some of the world's great opera houses. 
Bachtrack milestone

Bachtrack publishes its 10,000th review

On the occasion of our 10,000th review, raise a glass, please, ladies and gentlemen, to the health of our wonderful Bachtrack reviewers

The Wiener Staatsoper's Live at Home

The Vienna State Opera's subscription service offers 45 live broadcasts a year for a monthly fee. The intention is to foster in your home a sense of the live occasion, as distinct from the mere provision of a video library.
Upcoming eventsSee more...


Massenet: Werther
Alain Altinoglu; Willy Decker; Gran Teatre del Liceu; Wolfgang Gussmann; Piotr Beczała; Josep Bros


Verdi: Aida
Marco Comin; János Mohácsi; Hungarian State Opera; Khell Zsolt; Kriszta Remete; István Kovács; Ferenc Cserhalmi

HoustonNixon in China

Adams: Nixon in China
Robert Spano; James Robinson; Houston Grand Opera; Allen Moyer; James Schuette; Scott Hendricks; Andriana Chuchman

LeedsThe Snow MaidenNew production

Rimsky-Korsakov: Snegurochka, The Snow Maiden
Leo McFall; John Fulljames; Opera North; Giles Cadle; Christina Cunningham; Aoife Miskelly; Heather Lowe

AmsterdamDie Entführung aus dem Serail

Mozart: Die Entführung aus dem Serail (The Abduction from the Harem)
Jérémie Rhorer; Johan Simons; Dutch National Opera; Bert Neumann; Nina von Mechow; Lenneke Ruiten; Paul Appleby

ViennaRoméo et Juliette

Gounod: Roméo et Juliette
Plácido Domingo; Jürgen Flimm; Vienna State Opera; Patrick Woodroffe; Birgit Hutter; Aida Garifullina; Juan Diego Flórez

ZürichMedéeNew Production

Charpentier: Médée
William Christie; Andreas Homoki; Zurich Opera; Hartmut Meyer; Mechthild Seipel; Stéphanie d'Oustrac; Carmen Seibel


Wagner: Tannhäuser
Donald Runnicles; Kirsten Harms; Deutsche Oper Berlin; Bernd Damovsky; Ricarda Merbeth; Camilla Nylund
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Thoroughly modern Macbeth in Vancouver

Brett Bailey's acclaimed production of Macbeth is unmissable, combining top-notch theatrical and musical values with a disturbingly timely political warning
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La traviata at Covent Garden: imperfect but enjoyable

Richard Eyre's uncomplicated production remains as watchable as ever; Joyce El-Khoury makes a promising Covent Garden debut.
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Le Grand Macabre: surreal, madcap, sublime

Simon Rattle leads the LSO and a fine chorus and cast of soloists in Ligeti's masterpiece: surreal, madcap but touching the sublime.
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The Dead City lacks excitement in Vienna

Die tote Stadt at the Vienna State Opera features strong playing and singing but little drama.
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Two Violettas in 24 hours in Seattle

Two fascinating casts make Peter Konwitschny's stripped-down Traviata a must-see artistic event in Seattle.
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A historical curiosity in Valletta: Atys en Folie

The opera parody Atys en Folie created for the Valletta International Baroque festival is an interesting historical curiosity, but the genre's very specific brand of humour doesn't appeal to everyone.

Food for thought: Birtwistle’s The Last Supper

An excellent performance of Sir Harrison Birtwistle’s The Last Supper receiving its Scottish première, with Roderick Williams and Susan Bickley heading a luxury cast.
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DNO's Abduction a soprano vehicle for Lenneke Ruiten

The revival of this nine-year-old production feels dated, but its three Rs – Ruiten, Rose and Rhorer – make it a worthwhile evening.
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Happy Birthday, Rossini!

Born on the 29th of February, Gioachino Rossini only gets to celebrate his birthday every four years, so we're celebrating in style with a playlist of Bachtrack favourites.

Baroque Inquisition: Xavier Sabata

Xavier Sabata faces our Baroque Inquisition as we find out more about the rise of the countertenor.

Baroque Inquisition: Lawrence Zazzo

Lawrence Zazzo faces our Baroque Inquisition as we find out more about the rise of the countertenor. 

Playing the operatic villain: Interview with Jay Hunter Morris

As a tenor, Jay Hunter Morris is used to playing the love interest. In Jennifer Higdon’s new opera Cold Mountain, which receives its world première on 1 August at Santa Fe Opera, the tables are turned and he gets to portray a nasty, dark villain himself. 

Teatro alla Scala's celebratory Academy evening

A report from the Teatro alla Scala, where Academy students took to the stage for a celebratory graduation evening. 

A Bavarian Smorgasbord

With 43 productions ranging from the baroque to a world première set in Antarctica, the Bayersche Staatsoper's 2015/6 season provides something for everyone.

From Russia with love...

If you regularly listen to classical music radio stations, or go to concerts, you’ll almost certainly have heard excerpts from Russian opera, but these are just a taster and, if you get a chance, its well worth sampling the full package.

Jessica Pratt on the art of singing bel canto

Jessica Pratt, in Peru to sing the title role in Lucia di Lammermoor, talks about how she came to singing late, what she's learnt from her voice teachers and about the dying art of bel canto. 

Buon compleanno, Giuseppe Verdi!

Friday 10th October marks the birthday of the great Giuseppe Verdi - not as big an anniversary as last year's bicentenary, but worth marking nonethless. 

Falstaff: His enduring appeal

Few operatic characters straddle the operatic stage larger than Sir John Falstaff. Read our in depth 'opera portrait' on Verdi's Falstaff as well as some of his other guises. 

Opera Month Interview: David Pountney

Opera director and producer David Pountney has always been prepared to shake up people’s perceptions about opera. He already had a long association with Welsh National Opera, before becoming its Chief Executive and Artistic Director in September 2011. As part of Opera Month, we caught up with David Pountney to ask about programming ‘tougher’ works and about the impact opera screenings in cinemas is having.

Does High-Definition mean High Noon for Opera Houses?

Opera lovers have never had it so good. Last December alone, I saw Jonas Kaufmann and Anja Harteros star in Martin Kušej's new Bavarian State Opera production of La forza del destino, watched Piotr Beczała booed at the opening night of La Scala’s new season and experienced the Metropolitan Opera’s Eugene Onegin – all without leaving the house. 

Grimes on Grimes in HD: Stuart Skelton interview

In February, English National Opera made its big screen debut when David Alden’s hit production of Britten’s Peter Grimes was beamed live to over 300 cinemas. Stuart Skelton’s performances of the title role in this production have garnered international acclaim. Here, he tells us what is like being in front of the HD cameras.

Opinion: Another Op'nin', Another Show

When is opera not opera? When companies wheel out a musical...

Baroque Inquisition: Christopher Ainslie

Christopher Ainslie faces our Baroque Inquisition as we find out more about the rise of the countertenor. 

Opéra de Dijon: not only opera, but also...

The Opéra de Dijon's 2015/6 opera programme packs a considerable level of interest and variety into a relatively small number of productions, plus orchestral, choral, chamber and solo works.

Shakespeare celebrated in Budapest

“If music be the food of love, play on,” declares Duke Orsino at the start of Shakespeare’s Twelfth Night. There is no operatic version of Twelfth Night, but plenty of the Bard’s plays have been turned into operas or ballets, many of which feature in Hungarian State Opera’s new season.

BBC Cardiff Singer prize eludes favourite

Cardiff Castle hosted an entertaining bout of medieval jousting yesterday afternoon, but in the evening all eyes and ears turned to the vocal jousting in St David’s Hall.

A very cultural desert: Santa Fe Opera 2015 in preview

Santa Fe Opera's 2015 season comprises five new productions, including the world première of Jennifer Higdon's Cold Mountain. The operas span the old and the new, the famous and the less familiar, the scandalous and the light hearted.

Lust, jealousy, revenge and murder under the canopy

Opera Holland Park is adored by opera newbies for its friendly, informal atmosphere and its accessible ticket prices. Yet it is adored by aficianados too for its brave programming... and this season is no different.

Meyerbeer rarity heads new Deutsche Oper season

Political intrigues in exotic settings lie at the heart of three new productions at Deutsche Oper next season, headed by a rare outing for Meyerbeer’s L’Africaine in its original version, as left by the composer, under the title Vasco de Gama. 

Leoš Janáček: an operatic late starter

Leoš Janáček’s career as an opera composer was an unusual one. Unlike Verdi, who wrote successful operas throughout his life, and unlike Rossini, who retired from operatic composition in his late 30s, Janáček only came into his own as a composer of operas after the age of 50.

Dix Mois d'Ecole et d'Opéra

We interview with the team responsible for Opéra de Paris' scheme to help pupils in deprived areas find academic success through an initiation into opera and reveal the origins, achievements and goals of the programme.

Operatic child's play: Jonathan Dove interview

Opera is central to Jonathan Dove’s output and few composers have been as active in bringing opera to a new generation of audiences. His hugely successful opera The Adventures of Pinocchio has delighted family audiences around the world since its 2007 Opera North première. As part of Opera Month’s focus on accessibility, we asked Jonathan about writing for – and collaborating with – children.  

Forging a new generation of opera lovers

Is opera “stratospherically inaccessible”? How can opera houses encourage new audiences? James Imam explores some of the inventive ways in which opera companies are trying to build audiences to secure opera's future.

Seducing the cameras as Carmen: Rinat Shaham

Mezzo-soprano Rinat Shaham has received accolades for her operatic and concert performances throughout the world, not least for her portrayal of the title role in Bizet’s Carmen. As part of our Opera Month investigation into the opera in HD experience, we asked Rinat about the role cinema can play in bringing a new audience to the art form and about acting for the cameras.

Opinion: Juggling the role of artistic director and artist

Yesterday, Benjamin Millepied stepped down as director of Paris Opéra Ballet, prompting the question: can the director of a large international company juggle a management role with the desire to create?

Baroque Inquisition: Tim Mead

Tim Mead is the next countertenor to face our Baroque Inquisition. Read about da capo ornamentation, plus odd things he's been asked to do on stage!

Opinion: Touting the ticket price myth

On Monday’s Today programme on BBC Radio 4, presenter John Humphrys boldly – deliberately even – stepped into an operatic minefield. It blew up in his face.

Bel canto and gang rape: thoughts on Guillaume Tell

The gang rape scene in the Royal Opera's production of Guillaume Tell caused an uproar at the première and has caused a great deal of comment since. David Karlin argues that director Damiano Michieletto failed by succeeding too well.

Mastersingers: the triumphs – and pitfalls – of singing competitions

Voice competitions attract singers like moths to a flame, but what can they hope to achieve by competing and how great are the dangers of getting their wings burnt? 

A look at Carl Nielsen’s Maskarade

An exploration of Nielsen's Maskarade – rarely performed, but Denmark's national opera. 

Pelléas et Mélisande: a timeless legend

Pelléas et Mélisande, an exploration of Debussy's masterpiece through its different productions.

Radical Opera in San Francisco

In a warehouse on the San Francisco Marina, in the 1915 Panama-Pacific Exposition building, three men in yellow workmen’s gloves are dragging a dilapidated 25-foot boat across the concrete floor. They pause and begin to sing, a fourth man standing on the boat sings with them. The voices are beautiful, the harmonies bizarre, somewhat honky-tonk and 100% Kurt Weill. 

Opera on screen: a Topsy-Turvy World

As a postscript to Opera Month, we look at how companies are expanding their forays into HD and are using of technology to showcase their wares into cinemas and our homes.

Rise of Chamber Opera in NYC

American opera has experienced some notable upheaval over the past several months, first with the closing of the New York City Opera late last year, then with the announcement that the 49-year-old San Diego Opera will cease operations at the end of this season. Nonetheless, it would be a mistake to call New York a “one-opera town”, as newer and smaller opera companies are flourishing in the Big Apple.

Glyndebourne-gate: about appearances

There’s been a furore over the reporting of Tara Erraught’s appearance in Glyndebourne’s Der Rosenkavalier. Here are our views about discussing singers’ looks in opera reviews.

Peter Grimes: Coliseum vs Empire Leicester Square

Earlier this year, English National Opera launched its own cinema broadcasts and, to my extreme delight, chose to begin with David Alden’s staging of Peter Grimes, starring my very own other half, Stuart Skelton, in the title role. By my count, of the thirty-odd performances of Peter Grimes I’ve seen in my life, very nearly half of them have been in Alden’s production

“If you don't take risk, you don't drink champagne”

"The most important thing is to love what you sing to bits". Following this simple guideline, Russian mezzo-soprano Maria Ostroukhova found her way to the final of this year's London Handel Festival vocal competition.