Great expectations surrounded, for several reasons, the premiere of the new production of Tristan und Isolde at Gran Teatre del Liceu. Chief among them was the fact that Lise Davidsen, one of the most highly regarded Wagnerian sopranos of the present day, would be singing Isolde for the first time in her career, one of the most demanding female roles in the operatic repertoire in every respect. Another source of expectation was that a woman, Susanna Mälkki, would be taking the...

Kaija Saariaho’s Innocence, which is currently enjoying its UK premiere at the Royal Opera House, is one opera where it does not pay to read the synopsis in advance. In most instances, the advantage of having some prior knowledge of what to look out for outweighs the disadvantage of any surprises being spoilt, but that is not the case here. This is because it is an opera in which we are constantly learning new things as the drama unfolds, with some of the revelations being so...

35 years after having last appeared at Liceu, Puccini's Trittico has returned to its stage. It has done so in a 2017 Munich Opera production directed by Lotte de Beer. Achieving a visual and dramatic union in a single production of three titles as different as those that make up Il Trittico is not at all easy, the Dutch stage director half succeeds at it. De Beer takes death as a thread: in the first opera, a passionate thriller, there is a murder; in the second, a melodrama, we...