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This 2026 production of La Traviata at the Arena di Verona uses a “Moulin Rouge”-inspired Paris setting, blending the Belle Époque atmosphere with a glamorous, period-pop look, while keeping the focus on Violetta’s emotional and social drama.
This is one of the most enjoyable opera produced. The playful production by Paul Curran (Teatro Lirico di Cagliari [Sardinia]) has a wealth of clever touches, and the sets and costumes are lovely, whimsical, imaginative, and wonderfully captured. T The libretto for "Cherubin" (1905), an homage to Beaumarchais and da Ponte, takes up the story of the character Cherubino from Mozart's "Le nozze di Figaro" and shows him suffering his first great disappointment in love, his rejection by the courtesan/dancer Ensoleillad. All ends happily, however, as Cherubin finds his real destiny in Nina, a girl his own age. The story is tightly constructed, the text full of wit and humor in lighter moments and rapturous poetry in the love scenes, and the DVD's subtitles are expertly handled.
The Dutchman - Thomas Gazheli Senta - Marjorie Owens Daland - Mikhail Petrenko Erik - Bernhard Berchthold Mary - Annette Jahns Daland’s Steerman - Timothy Oliver Fiorentino Maggio Musicale Chorus (chorus master: Lorenzo Fratini)
An all-star cast assembled for the Met’s first-ever performances of Rossini’s romantic retelling of Sir Walter Scott’s epic poem The Lady of the Lake. Joyce DiDonato is Elena, the title heroine, who is being pursued by not one, but two tenors—setting off sensational vocal fireworks. Juan Diego Flórez is King James V of Scotland, disguised as the humble Uberto, and John Osborn sings his political enemy, and rival in love, Rodrigo Di Dhu. Complicating matters is the fact that Elena herself loves Malcolm, a trouser role sung by mezzo-soprano Daniela Barcellona, and that she is the daughter of Duglas (Oren Gradus), another of the king’s political adversaries. Paul Curran’s atmospheric production is conducted by Michele Mariotti.
On a stormy night, fate brings two strangers together, unleashing a love that has the power to destroy entire worlds. Meanwhile, in the realm of the gods, an epic battle erupts between the ruler Wotan and his rebellious daughter Brünnhilde.
As the saying goes, “Shakespeare invented him, Verdi made him immortal” – and, surely, it was Bryn Terfel who defined him. Terfel first sung Falstaff in 1999, and in 2021, the bass-baritone superstar returns once more to the role at Grange Park Opera. In a production by Stephen Medcalf first shown in the 17th century Farnese theatre in Parma in 2011 with designs that are truly Falstaffian including sensational backcloths by Italian supremo Rinaldo Rinaldi.
An opera of two halves? A comedy of two halves? Ariadne auf Naxos is both at once and centres around the proposal of ‘the richest man in Vienna’ to commission two entertainments, one from a serious opera composer and one from a troupe of comedians. When he discovers that sitting through both separately would delay the firework display he has planned, he gives orders for the two shows to be performed simultaneously on the same stage. The earnest young Composer is horrified while the pragmatic Zerbinetta is happy to give it a go. As a result, the story of Ariadne, abandoned by Theseus on the island of Naxos and despairing of her lost love, is interrupted repeatedly by the comedians, keen to help and to advise her that the best way to cure a broken heart is to find another lover.
All-stars from previous installments convene in glittering Las Vegas, battling for a victory that could define their dreams and their careers.
The Marx Brothers take on high society and the opera world to bring two lovers together. A sly business manager and two wacky friends of two opera singers help them achieve success while humiliating their stuffy and snobbish enemies.
Three single women in a picturesque village have their wishes granted, at a cost, when a mysterious and flamboyant man arrives in their lives.