Esteemed director Christof Loy presents a stunning new production of Strauss' intimate psychological opera, Arabella.

Loy's innovative staging highlights the dark side of Strauss and librettist Hugo von Hofmannsthal's comic opera with unnerving tact. Arabella's family is facing financial ruin, her own sister, Zdenka, has been raised as a boy to save the family the extravagant cost of introducing two daughters into society. Their only hope is to marry Arabella off to a wealthy man, but what she longs for is true love, and sometimes love can be blinding.  

With minimalistic staging and sleek elegant sets, Loy turns focus to Arabella's complicated cast of characters. Soprano Jacquelyn Wagner brings a haunting believability to the charming Arabella, most notably in her Act 1 aria Mein Elemer, and mezzo Sarah Defrise shines as the tragic Zdenka. 

Esteemed director Christof Loy presents a stunning new production of Strauss' intimate psychological opera, Arabella.

Arabella

London’s Royal Opera House presents Mozart’s timeless comic opera, a masterpiece brimming with captivating arias and emotional depth. 

Riccardo Fassi’s portrayal of Figaro, the clever and quick-witted valet, is a revelation, marked by impeccable comedic timing. Equally captivating is Giulia Semenzato as Countess Almaviva, whose longing for love and dignity resonates in her aria, "Porgi amor," a true highlight of the performance.

Director David McVicar’s production stands out for its nuanced exploration of gender politics and power dynamics. Under the baton of Sir Antonio Pappano, the orchestra expertly transitions from Figaro’s ironic farewell to Cherubino in “Non più andrai” to the poignant “Dove sono,” where the Countess reflects on lost happiness. The Count’s plea, “Contessa, perdono,” remains one of the opera’s most moving moments.


When a nobleman tries to seduce his wife’s maid on her wedding night, it leads to a hilarious plot of revenge in Mozart’s classic comic opera.

Le Nozze di Figaro

Director Oliver Mears presents a chilling interpretation of Verdi's tale of vengeance and loss, revealing the psychological horror at its core.

Set in a sleek, corporate world governed by power and cruelty, this, ''thrilling new production'' (The Times ★★★★) brims with Shakespearean irony, drawing out the torment of the hunchbacked jester, whose physical deformity symbolizes the moral decay surrounding him. Carlos Álvarez gives a compelling performance as Rigoletto, his voice laden with anguish as his tragic fate unravels. Lisette Oropesa’s Gilda sings with remarkable tonal beauty, but there is no romanticizing the tragedy here—every betrayal and death is a harsh reckoning with fate.

Mears delivers a masterclass in opera direction, further elevated by Antonio Pappano’s commanding conducting. Don’t miss the return of "La donna è mobile" in the final act, where we discover who truly has the last laugh.

Power is set against innocence in this strikingly staged production, starring Lisette Oropesa and Carlos Álvarez.

Rigoletto

Watch Leos Janácek's much-loved opera ''The Cunning Little Vixen'' spring to life in this charming animated film.

Janácek was inspired to write one of his most beloved operas after seeing Stanislav Lolek's famous newspaper cartoon strip depicting the rural tale of Vixen Sharp-Ears and her adventures on Forrester's farm. Now, The Cunning Little Vixen returns to its animated roots in this wonderfully whimsical cartoon inspired by Lolek's original drawings. 

Sung in English and beautifully animated Janácek's clucking chickens, moody badgers, and adorable foxes burst to life as never before in this family-friendly film.  Follow Vixen Sharp-Ears from her life as a young cub on Forrester's farm to her great adventure into the wild. 

 Janácek's much-loved opera ''The Cunning Little Vixen'' springs to life in this charming animated film.

The Cunning Little Vixen

“Falstaff” is the only comic opera, as well as the last opera, of Verdi’s production. At 1893 “Falstaff” made his debut at the Teatro alla Scala accompanied by a great success. “Falstaff’s” score abounds in musical experimentation like the pseudo-symphonic sonata-form that opens the first act, the fugue buffa that closes the opera. “Falstaff” is the work of an amusing and amused Verdi. After all, as the final theme reads: “Everything in the world is a joke. Man was born a joker”. In this way John Eliot Gardiner together with stage director Sven-Eric Bechtolf are congenial to this witty opera after Shakespeare.

“Falstaff” is the only comic opera, as well as the last opera, of Verdi’s production.

Verdi: Falstaff

Joyce DiDonato and Julia Bullock star in a bold reimagining of Handel's revelatory odyssey. This opera, not performed at Covent Garden since 1750, has been revitalized under Katie Mitchell's visionary, feminist direction. 

Theodora, a devout believer, has become a key figure in the resistance against Roman oppression. When her plan to dismantle the Roman embassy is exposed, she confronts the brutal realities of her adversaries, unveiling the unyielding strength of her faith in the face of her brutal oppressors.  

Mitchell's innovative approach transforms this Baroque classic into a contemporary spectacle. DiDonato and Bullock bring astounding emotional depth to their complicated characters, and Baroque specialist Harry Bicket breathes new life into Handel's masterpiece. 

Joyce DiDonato and Julia Bullock star in a bold reimagining of Handel's Theodora at The Royal Opera House.

Theodora

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius’, featuring de Niese’s ‘powerfully sung’ Rosina, Bürger’s ‘gale-force’ Figaro and Stayton’s ‘pure and mellifluous’ Almaviva – a leading trio ‘musically and dramatically beyond compare’ ( The Independent). Contributing to the ‘ensemble precision’, the rest of the cast includes a ‘scene-stealing’ Berta in Kelly, a ‘suavely unctuous’ Basilio from Stamboglis andCorbelli’s Bartolo, ‘an object lesson in comic understatement’ (The Guardian). With Enrique Mazzola at the helm of the London Philharmonic Orchestra, ‘the score bubbles along on a Puckish current of merry mischief’ (The Telegraph).

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius

The Barber of Seville

The stout Sir John Falstaff has financial problems, which he attempts to solve by having affairs with Alice Ford and Meg Page, two very wealthy, very married women. Having received identical love letters, the two women decide to have some fun at Falstaff’s expense.

The stout Sir John Falstaff has financial problems, which he attempts to solve by having affairs with two very wealthy, very married women.

Falstaff

Through the eye of French director Laurent Pelly this expression of Berlioz's undying admiration for the Bard - his adaptation of Much Ado about Nothing as an opera comique - becomes 'an elegant treatise on love and music designed in shades of grey with 50's-era costumes' (Sunday Express). Housed by designer Barbara de Limburg in a series of oversized boxes, it's 'terribly chic, terribly pretty' (The Spectator). Soaring over the 'warmly graceful playing of the London Philharmonic', Paul Appleby sings 'attractively' as Benedict and Stephanie d'Oustrac 'makes a marvellously wiry and fiery Beatrice, singing with charm and acting with gusto' (The Telegraph).

Laurent Pelly's expression of Berlioz's adaptation of Much Ado about Nothing as an opera comique becomes ''an elegant treatise on love and music".

Beatrice and Benedict

Siegfried follows the rise of a young hero, the illegitimate son of the twins whose story we were told in Die Walküre. On the one hand, there is learning about life, glorying in nature and in the emotions, as opposed to those of calculation and greed on the other.

In the third part of Wagner's Ring Cycle, Siegfried follows the rise of a young hero, the illegitimate son of the twins from Die Walküre

Siegfried

The main setting for this realistically inspired production of the Barber of Seville, both indoors and out, is Rosina’s house. Ketevan Kemoklidze leads as Rosina while the orchestra plays under the magical baton of the young principal guest conductor Andrea Battistoni.

Ketevan Kemoklidze leads as Rosina while the orchestra plays under the magical baton of the young principal guest conductor Andrea Battistoni.

Glyndebourne's brilliant production of Handel's Giulio Cesare starring Sarah Connolly and Danielle de Niese. 

Widely considered one of Handel's best operas, Giulio Cesare gets a turn-of-the-century revamp in David McVicar's stunning production. Dame Sarah Connolly gives a commanding performance as the power-hungry Julius Caesar who falls madly in love with a flirty and modern Cleopatra (Danielle de Niese).  

With captivating staging and a perfectly paced score, thanks to conductor William Christie and The Orchestra of The Age of Enlightenment, this production is a feast for the eyes and ears. 

Glyndebourne's brilliant production of Handel's Giulio Cesare starring Sarah Connolly and Danielle de Niese. 

Giulio Cesare

Stefan Herheim's moving reimagining of Gian Carlo Menotti's opera "Amahl and the Night Visitors," at MusikTheater an der Wien, is a spellbinding take on a family-friendly classic. 

Renowned opera director Stefan Herheim breathes new life into the timeless tale of Amahl, a disabled boy who befriends the Three Kings during their pilgrimage to the Holy Child. Set in a modern-day children's cancer ward, Menotti's short opera is transformed into a deeply moving show filled with empathy, love, and joyful fantasy. Amahl's Three Kings bear a striking resemblance to the hospital staff, the angels resemble his fellow ward patients, and his hospital bed floats magically through the night sky. Herheim's genius staging has brought this holiday classic to new heights. 

'I certainly was not expecting to be brought to tears during a 50-minute children’s holiday opera' - Bachtrack 

Stefan Herheim's moving reimagining of Gian Carlo Menotti's opera "Amahl and the Night Visitors" at MusikTheater an der Wien is a spellbinding take on a family-friendly classic.  

Amahl and the Night Visitors

The Royal Opera House's superb production of Saint-Saëns' opera, Samson and Delilah, skillfully directed by the multi-Olivier Award Winner, Richard Jones. 

This operatic reimagining of the timeless biblical tale of the hero Samson and his lover Delilah who violently betrays him is no easy feat. Famed director Richard Jones has taken on this complicated epic not performed at The Royal Opera House since Elijah Moshinsky’s striking 1981 production. With glitzy casino motifs and nods to 20th-century film, this ancient tale springs to life in vivid color. 

Latvian mezzo-soprano Elīna Garanča steals the show as the seductive Delilah, especially in her arias “Printemps qui commence” and “Mon cœur s'ouvre à ta voix.”  SeokJong Baek makes his Royal Opera House debut giving a thrilling performance as the heroic Samson, and Sir Antonio Pappano conducts the full force of the Royal Opera House Orchestra. 

The Royal Opera House's superb production of Saint-Saëns' opera, Samson and Delilah, skillfully directed by the multi-Olivier Award Winner, Richard Jones. 

Samson et Dalila

This captivating short dance film unveils the story of a lonely ice fisherman who finds an unlikely friend trapped within the depths of the frozen sea ice.  

Against the backdrop of a desolate Arctic shore, a lonely fisherman's fate intertwines with that of a frozen prehistoric man encased in ice. As twilight descends, the ice-bound figure defrosts, revealing an unexpected friend and dance partner. Yet, as the dawn's unforgiving light breaks, revelations shatter the facade of their newfound connection. Combining the art of silent narrative, deadpan Nordic humor, and an original soundtrack by avant-garde accordion wizard Kimmo Pohjonen, this acclaimed short film has taken the festival circuit by storm. Its enigmatic storytelling and mesmerizing choreography have earned it both critical praise and an enthusiastic following.

This captivating short dance film unveils the story of a lonely ice fisherman who finds an unlikely friend trapped within the depths of the frozen sea ice.

Cold Storage

Luciano Pavarotti, the greatest tenor of the twentieth century, sang to over 500,000 people on the Great Lawn of New York's Central Park in June 1993. It was one of his most celebrated performances.

Throughout his life, Pavarotti battled to bring opera to the masses, and this free concert ensured the Italian maestro's legacy would live on. Titles sung include “Nessun Dorma,” “O Sole Mio,” “La Girometta,” “Serenata,” “Chitarra Romana,” and “Recondita Armonia.”

Sharing the stage are members of the New York Philharmonic under music director Kurt Masur and conductor Leone Magiera, with the Boys Choir of Harlem and solo flute by Andrea Griminelli.

Take a front row seat as the "King of the High Cs" Luciano Pavarotti performs “Nessun Dorma” for over 500,000 people in New York's Central Park.

Pavarotti: Live in Central Park

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Scottish Opera presents a groundbreaking new digital opera about a fiery family feud. 

A simple phone call triggers a fierce feud between brothers Angus and Kai, co-owners of The Narcissistic Fish restaurant. Amidst their heated exchange, Belle, an underpaid yet talented chef, has a profound revelation. 

This short, thought-provoking, work offers a unique opera experience. Filmed on an immersive set, composer Samuel Bordoli's evocative music intertwines seamlessly with Jenni Fagan's provocative libretto, unraveling a visceral saga that delves into the intersections of class, gender, and workplace pressures in 21st-century Scotland. 

Scottish Opera presents a groundbreaking new digital opera about a fiery family feud at The Narcissistic Fish restaurant.

The Narcissistic Fish

Scottish Opera

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