Stage director Frank Castorf “might have been born to direct From the House of the Dead” (Opera Today). His gritty, visually striking adaptation brings bold modern and postmodern touches to Janáček’s masterwork without ever overshadowing the intense forward momentum of the music, conducted to dramatic perfection by Simone Young and sung by an all-star cast in Munich. Janáček adapted Dostoevsky for this powerfully compelling opera set in a Siberian prison camp, full of starkly contrasting moods and motifs, unusual in its episodic structure. The last opera Janáček ever composed, its third act was on his desk when he died in 1928; attempts by his students to “complete” his orchestration have largely fallen away over the decades in favor of the original version. Despite the grimness of the setting and the brutality of several characters, the composer’s compassion shines through in tender moments, movingly illustrating his motto for the work: “in every creature, a spark of God.”

Two Queens. One Catholic and Scottish, one Protestant and English. One in prison at the other’s behest. A man between them balancing loyalty and love. A cry of ‘Vile bastard’ is the impassioned insult that leads one to the scaffold. The insult was so potent that the first performance of Donizetti’s lyrical tragedy was cancelled at the last minute in Naples through royal intervention. A toned-down revision went awry at la Scala the following year when the great Maria Malibran chose to sing the original words. More than a century would pass before Maria Stuarda would finally make its way into the operatic mainstream. For the central female roles, Irish National Opera has called on two Irish singers with glittering international careers: mezzo-soprano, Tara Erraught and soprano, Anna Devin. Tom Creed’s new production promises timely insights into what happens when larger imperial states encroach on their smaller neighbours and when geopolitics is clouded by emotions.

The oratorio concerns the Christian martyr Theodora and her Christian-converted Roman lover, Didymus.

A passionate count enlists a local barber and jack-of-all-trades to help him woo and wed a quick-witted woman. But it will take all their cunning - as well as some disguises and bribes - to ensure love wins the day. Rossini’s joyously inventive music makes this a deftly-paced triumph of comic timing. But woe betide anyone taking too many liberties. Adelina Patti, the great 19th century diva, once sang the aria ‘Una voce poco fa’ to Rossini, adding numerous florid embellishments.

Diktat is a tyrannical ruler unleashing chaos on the planet. But, as a band of unlikely heroes forms, launching a battle of biblical proportions, can a shattered world heal in time? Masque of Might is the world premiere of a witty and satirical new opera which sees Sir David Pountney skillfully assemble Henry Purcell’s music to create a fantastical and thoroughly modern tale of power, corruption and the gathering climate crisis.

The revolutionary tribunal has sentenced Andrea Chénier to death and no one can avert his fate. Shortly before his execution, Chénier is visited by his lover Maddalena, who has decided to die at the poet's side. “Our death is the triumph of love”, the lovers promise each other in their last words. The French Revolution, which was initially demanded by the people, turns out to be a machine of terror after 1789: spies of the regime pursue the citizens, show trials serve as a deterrent and the guillotine ensures that the sentences are carried out. Although the wanted Chénier could flee Paris, he decides against it. He wants to know who is behind the letters that are secretly delivered to him. Here, in the shadow of the reign of terror, love triumphs: Chénier and Maddalena find each other, swear eternal love and are faithful to each other until their last breath together.