On July 4, Staatsoper Unter den Linden in Berlin presented the premiere of a new production of Camille Saint-Saëns’s opera Samson et Dalila — a work that had already been part of the theatre’s repertoire. The leading roles were performed by Roberto Alagna and Aigul Akhmetshina, for whom the role of Dalila marked her debut on the stage of Staatsoper Unter den Linden.

On June 20, 2026, the ancient theatre of Epidaurus once again became a place of operatic history. On the opening day of the Athens Epidaurus Festival, ten thousand spectators gathered under the open sky to witness the return of Luigi Cherubini’s Medea — the production that, 65 years earlier, had turned opera in Greece into an event of global importance. It was here, in 1961, that Maria Callas created one of her legendary stage heroines in Alexis Minotis’s production, with set

Claude Debussy’s Pelléas et Mélisande, directed by Ruth Berghaus, has returned once again to the Staatsoper Unter den Linden. This production has been part of the theatre’s repertoire since 1991, and that fact alone gives the evening a special aura: what appears on stage is not merely another revival, but an encounter with the theatre’s history, with a particular aesthetic, and with the artists through whom many of us once discovered opera.

Sara Allegretta , soloist at La Scala , professor at the Conservatorio di Musica Niccolò Piccinni in Bari and a bearer of the Italian bel canto tradition, has arrived in Moscow . From June 23rd to 27th, she is holding a vocal intensive for singers , featuring open master classes, individual lessons, and separate work with an orchestra. For Moscow's vocal community, this is a rare opportunity to see how the Italian school works not just in theory, but in live teaching: with br

Claudia Muzio remains one of the most fascinating and elusive figures in twentieth-century vocal art. Remembered not only for the beauty of her voice, but for the emotional truth, refinement, and almost mysterious intensity of her interpretations, she continues to inspire singers, collectors, and opera lovers nearly a century after her greatest triumphs. In this interview, we speak with a singer and researcher Monica Zanettin whose long-standing devotion to Muzio began wit

On May 1, Berlin hosted a performance of Norma directed by Vasily Barkhatov. As is often the case in contemporary Regietheater, the action was moved from ancient antiquity into a vaguely modern setting. The production deliberately avoids a precise geography or timeline: the audience is presented with a state that has undergone a radical political transformation.

On April 6, the Staatsoper Unter den Linden hosted the final performance of this season’s premiere of Giuseppe Verdi’s opera Un Ballo in Maschera. The production brought together renowned performers, such as Anna Netrebko, Boris Pinkhasovich, and Charles Castronovo.

Born in 1894 in Florence to a family of railworkers devoted to operatic music, Bianca straight from the early childhood showed her gifts for singing and very soon started taking vocal lessons. Her teacher was Ernesta Bruschini, the sister of the Italian soprano Matilde Bruschini and the author of the book "The technique of belcanto". Bianca's progress in singing was obviously rapid, and already in 1917 she made her professional debut at the Teatro della Pergola in Florence in

It is remarkable that one of Italy’s lesser-known opera houses, though bearing the name of the great composer – Teatro Lirico Giuseppe Verdi – presented such a profound production of Il Trovatore. The audience was largely conservative (around 80 percent of the spectators seemed to be of retirement age), and one can hardly imagine that they would welcome an excessively radical directorial concept. Anyway, the production was notable not for extravagant or complicated staging, b

Some tips for young singers from the greatest Wagnerian soprano of the 20th century.