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REVEALED: 3 - The Real Truth

Young Russian mezzo bids for breakout stardom in Met's new 'Carmen'

Aigul Akhmetshina says she’s a fighter — and she’s had to be to make it to the Metropolitan Opera, where she leads a new production of Bizet’s “Carmen” opening on New Year’s Eve

The Independent UK

La Scala's gala premiere of 'Don Carlo' is set to give Italian opera its due as a cultural treasure

Italian melodrama’s official recognition as a global cultural treasure is getting trumpeted with La Scala’s season premiere of Verdi’s “Don Carlo.”

The Independent UK

Keel Watson obituary

Versatile opera singer who could move effortlessly between Wagner and Alice’s Adventures in Wonderland

The Guardian - UK

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John Adams: Antony and Cleopatra review – European premiere fuelled by molten chemistry

In his ambitious and richly orchestrated 2022 opera, the American composer makes Shakespeare his own, with a star cast to match

The Guardian - UK

The week in classical: La rondine; La traviata review – rapture and raw power

Puccini’s flighty swallow soars in James Hurley’s gorgeous new production for Opera North. And Nicole Chevalier is devastating as the doomed Violetta in ENO’s impassioned revival of no-frills Verdi

The Guardian - UK

The week in classical: Falstaff; Hatfield House chamber music festival – review

Verdi’s late masterpiece ends on a riotous and sustainable high at Opera North. At the childhood home of Elizabeth I, a family affair and a memorable premiere

The Guardian - UK

The week in classical: La forza del destino; Bayerisches Staatsorchester/ Jurowksi; Chouchane Siranossian – review

Ignore the fanciful plot and submit to the musical glories of the Royal Opera’s bravura revival of unwieldy Verdi. And to the top of the mountain with Vladimir Jurowski and co

The Guardian - UK

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La Forza del Destino review – superb voices and slick dance routines for Loy’s reimagined Verdi

Christoph Loy’s 2019 staging staging feels more cogent in this, its first revival, and baritone Etienne Dupuis is stunning as Carlo

The Guardian - UK

Norwegian soprano Lise Davidsen taking on new challenges on two continents

Norwegian soprano Lise Davidsen is embarking on her most ambitious season yet

The Independent UK

Tenor Freddie de Tommaso, a young British sensation, makes US opera debut

Tenor Freddie de Tommaso, who at 28 became an overnight sensation nearly two years ago after stepping in for a star who had taken ill, is so in demand that he sometimes has to turn down roles

The Independent UK

Opera world split as director reinventions dominate Europe while US, Italy more muted

The opera world is split in two: Some European productions reinvent works in ways composers never imagined, and traditional stagings favored in the U.S. are condemned by cognoscenti

The Independent UK

Russian opera star sues US company after dropping her for refusing to criticise Putin’s war in Ukraine

Soprano Anna Netrebko, once among the Metropolitan Opera’s biggest box office draws, has sued the company and general manager Peter Gelb, alleging defamation, breach of contract and other violations

The Independent UK

Star soprano Anna Netrebko sues Met Opera over its decision to cut ties over Russia-Ukraine war

The Independent UK

The week in classical: Don Carlo; Woman at Point Zero; History of the Present – review

Lise Davidsen is exceptional in Verdi’s masterly study of war and leadership; and Belfast is the focus of a bold four-woman collaboration on film

The Guardian - UK

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The Guardian - UK

Verdi: Un Ballo in Maschera review – Freddie De Tommaso stars in lustrous lockdown tragicomedy

Recorded in two separate studios, Marek Janowski’s dashing recording of Verdi’s opera draws power from its authoritative star, even if the rest of the cast can’t quite measure up

The Guardian - UK

Don Carlo review – Lise Davidsen doesn’t disappoint in Verdi’s sprawling masterpiece

The rising star, in her first major Verdi role, gives a tour de force of glorious singing in an otherwise unfocused production which struggles with character and dramatic intensity

The Independent UK

Muti ends 13 seasons with Chicago Symphony Orchestra with praise and honors — and Beethoven

Riccardo Muti has ended 13 seasons as Chicago Symphony Orchestra's music director with praise and a series of honors

The Independent UK

Yannick Nézet-Séguin is remaking the Metropolitan Opera from the bottom up

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The Guardian - UK

BBC Cardiff Singer of the World review – a surprise winner and unexpected vocal delights

Adolfo Corrado’s dramatic bass took the honours, but over the week’s competition there was plenty of excellent, stylish singing – and unexpected coloratura fireworks

The Guardian - UK

Il trovatore; The Planets; Dennis & Gnasher: Unleashed at the Orchestra review – from Bosch to Bash Street

Spellbinding Jamie Barton and company excel in Adele Thomas’s clear-sighted take on volatile Verdi; to the final frontier via Peckham; and kazoos at the ready for a Beano Concerto

Chicago Sun-Times

Riccardo Muti: ‘I leave the position of music director knowing that I have done my best’

The world-renowned conductor, who is stepping down from his post with the Chicago Symphony Orchestra later this month, plans to return to the podium at Symphony Center, but less frequently and without the demands of being the orchestra’s music director.

The Independent UK

Speranza Scappucci to become Royal Opera's principal guest conductor

Speranza Scappucci will become principal guest conductor of London’s Royal Opera starting with the 2025-26 season

The Guardian - UK

Rigoletto review – Verdi’s jester locks horns with the Bullingdon Club

In an engaging but problematic staging, the Duke’s court is relocated to interwar Oxford, with Alison Langer’s beautifully sung Gilda a standout

The Independent UK

Sonja Frisell's lavish staging of Verdi's 'Aida' ends its 35-year-run at the Metropolitan Opera

Sonja Frisell's production of Verdi's “Aida” ends a 35-year run at the Metropolitan Opera on Thursday with its 262nd performance

The Guardian - UK

The week in classical: Abomination: A DUP Opera; Aida – review

Its Belfast premiere positively crackled, and four years on, Conor Mitchell’s lush, searing satire on DUP homophobia continues to provoke

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