Eugen Onegin - Wiener Staatsoper

“Eugene Onegin tells a love story that doesn’t work”. This is how Ralph Fiennes sums up the plot of Pyotr Ilyich Tchaikovsky’s opera, inspired by Pushkin’s work. A jaded young dandy, Onegin sets shy Tatiana on fire at first sight. Overcoming her reticence, she writes him a passionate love letter. Alas, he brutally refuses, giving her a lecture on morality. However, years later, after a duel, he falls in love with the young woman who is now Prince Gremin’s wife. Will she yield to his advances? Fascinated by Russian culture and attuned to the dramatic intensity of Tchaikovsky’s music, Ralph Fiennes is directing his first opera. If he chooses to use pictorial simplicity to evoke the Russian countryside or a ballroom, it is all the better to emphasise the emotions of the characters, as complex as they are modern.

There are elements of Macbeth in this political fable, in which the ghost of the child that Boris has had killed in order to seize the throne appears as an impostor. Adapting Pushkin's epic poem, Mussorgsky composed a meditation on the solitude of power, a populist drama in which the real protagonist is the Russian people with its burden of eternal suffering. Ivo Van Hove is no stranger to grand political frescos. This is his first production for the Paris Opera.

Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. The opera offers a rare opportunity for two baritones to star alongside one another as the title Lothario and his faithful yet conflicted servant, Leporello, as well as three memorable female roles—multifaceted women who both suffer the Don’s abuses and plot their revenge.

Once upon a time, a Prince was hunting at night, his name was Prince Arindal and he encounters a beautiful fairy called Ada. It was love at first sight and they fell in love immediately. Arindal decides that he should always be at Ada's side in the fairy realm. The Fairy king warns that if Arindal should ever leave Ada alone for longer than a year, then she will turn into stone. The Prince finds himself having to leave Ada- will he be back in time? This "Oper für Kinder" version has been shortened down to a compact 45 minutes from the original 3 hour opera.

Country boy Nemorino is determined to win the haughty Adina’s heart, but she refuses to give him the time of day. Can Doctor Dulcamara’s so-called ‘elixir of love’ work its magic?

Power struggles among rival families in 14th-century Genoa, a story of tragic love, a young girl gone missing… Verdi’s Simon Boccanegra combines the perfect ingredients for gripping dramatic opera with a strong political message. On the stage of the Salzburg Festival, this sharp critique of power set to music is brought to life by the voices of Luca Salsi, Marina Rebeka, René Pape, Charles Castronovo, and others, who join the exceptional Valery Gergiev for a captivating performance.

At the Hanover Klassik Open Air Festival, opera takes to the open air and welcomes audiences of all kinds. The 2025 edition opens its doors on 22 August 2025, with a programme featuring a best-of selection of great arias by Tchaikovsky, Borodin and Puccini performed by the NDR Philharmonic Orchestra conducted by Stanislav Kochanovsky, featuring soprano Oksana Dyka, baritone Boris Pinkhasovich and tenor Liparit Avetisyan.

The Salzburg Festival presents one of Wolfgang Amadeus Mozart's masterpieces: the opera Le Nozze di Figaro, in a new production staged by Sven-Eric Bechtolf and conducted by Dan Ettinger. Set-List: Wolfgang Amadeus Mozart, Le nozze di Figaro, K. 492.

The hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.

A guileless Japanese girl gives up everything to marry a lieutenant in the US Navy. But when he suddenly leaves the country, she is determined to wait patiently until he sails back into harbour. Live from Valencia's iconic Palau de les Arts, the audience favourite Madama Butterfly returns with soprano Marina Rebeka and tenor Piero Pretti in the leading roles. Director Emilio López’s staging culminates in the bleak landscape of Nagasaki destroyed by the atomic bomb to evoke Puccini's early outcry against the soul-crushing spirit of colonialism.

Live from Munich June 2014. Guillaume Tell , in a new production by 30-year-old Wunderkind stage director Antú Romero Nunes, opens this year’s Munich Opera Festival with an orgy of fabulous singing.

Méphistophélès, less an intellectual "principle of negation" than a devilishly attractive magician, draws his attention to Marguerite - and Faust is delighted. A deal is quickly struck: the devil serves Faust on earth, and after Faust's death it is to be the other way around. Marguerite is also not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains an episode, as Faust is drawn to new attractions, while Marguerite remains pregnant, only to see her unfaithful lover kill her brother.

"This is Vienna State Opera live at home". March 2015.

The Gypsy Baron (German: Der Zigeunerbaron) is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its libretto was by the author Ignaz Schnitzer (de) and in turn was based on Sáffi by Mór Jókai. During the composer's lifetime, the operetta enjoyed great success, second only to the popularity of Die Fledermaus. The scoring and the nature of Strauss's music have also led many music critics to consider this work a comic opera or a lyric opera.

In 1873, brave men known as the New Latvians held the first-ever Latvian song festival under the watchful eye of oppressive censorship. This massive celebration, featuring 1,003 singers – both men and women – changed the course of the nation’s history. It stands as a unique example of non-violent resistance in the fight for freedom against imperialism, led by Latvia’s entrepreneurs, writers, publicists and ordinary villagers.

"Dare to come, you who defy Venus!" cries Thaïs, the priestess of Venus, to ascetic monk Athanaël, determined to save her soul by converting her to Christianity. This challenge precipitates the action of Thaïs, Massenet's operatic masterpiece, staged here by Jean-Louis Grinda at the Opéra de Monte-Carlo with Jean-Yves Ossonce conducting!

Time is running out for Violetta. Her illness is relentless, as are her feelings for her young admirer. As her past as a Parisian courtesan catches up with her, his provincial family is determined to break up their scandalous affair. Verdi’s La traviata is without a doubt one of the most moving stories in the operatic canon. Teatro Real’s semi-staged concert version recorded in July was one of the first productions to be put on worldwide after the lockdown. The ambitious undertaking weaves reality into its staging concept and features a spectacular cast led by Marina Rebeka, Michael Fabiano and Artur Ruciński.

The new production of Lucia di Lammermoor, which was scheduled to inaugurate the 2020-2021 season, brings the opera back to the La Scala stage after its historical edition in 1967 with Claudio Abbado and Renata Scotto. One of the highlights of this production is the casting of Scotto's pupil, Lisette Oropesa, in the role of Lucia, joined by Juan Diego Flórez, who plays the role of Edgardo. Together, they form a duo that shines with their elegance, virtuosity, and stylistic awareness.