Once again, we find ourselves at the dawn of a new operatic season – at least for those theatres that organize their seasons from September to August.  As is customary by now, I’ve taken a look at the operatic offerings available and pulled out some shows that look potentially interesting.  Over the most recent seasons, I have tended to organize my operagoing around places that I’d like to spend time in, as much as the repertoire and casting – although the latter of course has a significant influence.  With that in mind, I’ve pulled together some productions that look potentially very interesting.  And so here are some very personal Hot Operatic Tips for the year ahead.

Der Rosenkavalier, Oper Köln, September – December 2026.

For a long time, it felt that this day would never come.  After being exiled to the other side of the Rhine for a over a decade, the Oper Köln is finally returning to Offenbachplatz and opening with this new production of Der Rosenkavalier, by Marie-Ève Signeyrole.  The run has been double cast with the opening night cast featuring Magdalena Hinterdobleras the Marschallin, Bianca Andrew as Octavian and Giulia Montanari as Sophie.  The terrific young bass, Patrick Zielke, sings Ochs, while the musical direction is in the hands of music director, Andrés Orozco-Estrada. 

Peter Grimes, Finnish National Opera, November 2026.

Over the past few years, since attending their Ring cycle, I have had the pleasure of hearing the house chorus in Helsinki.  This is an exceptional chorus, one that is surely the one of the finest in the world, and what better opportunity to hear them than in this most choral of operas, Peter Grimes.  With Daniel Brenna in the title role and the experienced interpreter of Ellen Orford, Maria Bengtsson, alongside him, this offers a genuine showcase for all that the house has to offer.  The recently-appointed house music director Dima Slobodeniouk conducts David Radok’s staging.

Elektra, Opernhaus Zürich, November – December 2026.

It was in Zurich that I saw the great Evelyn Herlitzius sing her final Elektra in July 2019.  Time doesn’t stand still and this fall, the house will premiere its new production of Strauss’ opera in a staging by Lydia Steier, a director who always brings ideas to a work.  In the title role is Miina-Liisa Värelä an experienced interpreter of the German repertoire, whose recent Walküre Brünnhilde in Munich showed just how much she has grown as an artist.  Joined by Tanja Ariane Baumgartner and Sara Jakubiak as mother and sister, with the experienced John Daszak and Gábor Bretz rounding out the lineup of principals, the performance will be conducted by Lorenzo Viotti. 

Otello, Teatro alla Scala, December 2026.

The Teatro alla Scala is opening its 2026 – 7 season, the first under the music directorship of Chung Myungwhun, with this new production of Otello.  Damiano Michieletto is one of the most thoughtful and emotionally engaging stage directors active today and I’m very much looking forward to seeing what he does with Verdi’s masterpiece.  In the first cast, Brian Jagde returns to the title role after his notable debut in Madrid last year, while Luca Salsi sings Jago.  As Desdemona, the Scala has engaged Eleonora Buratto, the finest Italian soprano before the public today.  The alternative cast features Arsen Soghomonyan, Roberto Frontali, and Roberta Mantegna.  I must admit it has always been a dream of mine to attend the prima at the Scala, although realistically I’m more likely to attend a later performance in the run.  Still, this will be one of the most anticipated events of the season.

Kát’a Kabanová, Teatr Wielki – Opera Narodowa, January 2027.

The Warsaw Teatr Wielki – Opera Narodowa has planned a very interesting 2026 – 27 season and this new production of Kát’a Kabanová promises to be one of the highlights.  It has been very excitingly cast with two of the greatest singing actors of our time in the leading roles, Aušrinė Stundytė as Kát’a and Evelyn Herlitzius as the Kabanicha.  They are joined by Jamez McCorkle as Boris and Brindley Sherratt as Dikoj.  Kornél Mundruczó is, by now, an experienced director of Janáček’s operas and the performance will be conducted by the new house music director, Yoel Gamzou. 

Theodora, Grand Théâtre de Genève, January – February 2027.

While its historic home is being renovated, the Grand Théâtre de Genève will perform its new production of Händel’s oratorio in the Bâtiment des Forces Motrices.  With a staging by the always insightful Krzysztof Warlikowski and led by supreme baroque stylist, Raphaël Pichon, conducting his Pygmalion chorus and orchestra, along with the resident house chorus, this promises to be an evening of vision and contemplation.  The cast looks interesting, with Fang Ying in the title role, joined by Paul-Antoine Bénos-Djian as Didymus, Laurence Kilsby and Niamh O’Sullivan as Septimius and Irene, and John Brancy as Valens.  

Salome, Opéra de Lyon, March – April 2027.

I’m always somewhat reticent to plan to see things at theatres in the French Republic given the potential for labour disputes and cancellations, but Lyon is one of the last few significant European theatres I have had the pleasure of visiting and this new production of Salome certainly gives a reason.  With stage direction by the great Calixto Bieito, and Constantin Trinks conducting, it will be fascinating to see what Bieito does with this most gruesome of operas.  The cast is interesting, with British Columbian soprano Ambur Braid in the title role and Josef Wagner as Jochanaan. 

Maria Stuarda, Opéra de Marseille, March 2027.

This pair of concert performances of this chapter of Donizetti’s Tudor trilogy has been very interestingly cast.  With consummate bel canto stylist Jessica Pratt in the title role lining up against Teresa Iervolino as Elisabetta, we are promised an evening of authentic stylishness.  In the male roles we also have the superb John Osborn as Roberto, while the highly talented, young Valencian bass Manuel Fuentes takes on Talbot.  The musical direction is in the hands of house chief, Michele Spotti.  In this most Italian of French cities, this is certainly one to watch.

Mazeppa, Bayerische Staatsoper, March 2027.

Dmitri Tcherniakov is one of those directors who always brings a personal stamp to the works he interprets.  While some of his readings can be wayward, they’re always insightful and make the viewer feel, which is precisely what one looks for in an opera production.  This new Mazeppa has been cast from strength, with Vladislav Sulimsky, Alexander Tsymbalyuk, Ekaterina Gubanova, and Olga Kulchynska among the principals.  Daniele Rustioni conducts.  This is not likely to be a conventional Mazeppa, but it will undoubtedly be a stimulating one.

La clemenza di Tito, Teatro Municipale di Piacenza, March 2027.

The Teatro Municipale di Piacenza is one of those theatres that every opera traveller should know.  Located within easy travelling distance of Milan, the house presents an interesting program with some really judicious casting.  This Clemenza looks particularly interesting with Ilker Arcayürek in the title role, Mariangela Sicilia as Vitellia, and Arianna Vendittelli as Sesto.  The music director of the Accademia Bizantina, Ottavio Dantone, conducts Chiara Muti’s staging.  This fall, they’re also presenting a Bohème led by consummate Puccini stylist, Vincenzo Milletarì, and a Fliegende Holländer led by the energizing young conductor, Martijn Dendievel.    

Lucia di Lammermoor, Teatro Massimo Palermo, March 2027.

This Lucia at the Teatro Massimo is one of those shows that has been double-cast, yet both casts look equally exciting.  In the title role, we have Nina Minasyan and Ruth Iniesta, while Lawrence Brownlee and Iván Ayón Rivas sing Edgardo.  Enrico is shared by Artur Ruciński and Markus Werba.  With the magnificent acoustic of the house, and its experienced orchestra and chorus, both casts should provide evenings of bel canto thrills.  Stefano Ranzani conducts Lorenzo Mariani’s staging, imported from Genova.

Salome, Teatro Regio Torino, April 2027.

April appears to be the month for Salome and this new production at the Teatro Regio Torino is offering a luxury cast.  Italian orchestras excel in German opera, and the Turin orchestra is a particularly fine one, here under the direction of Axel Kober.  Johanni Van Oostrum takes on the demanding title role, alongside Gábor Bretz as Jochanaan.  Jennifer Larmore and John Daszak incarnate the Herods.  The stage direction is confided to Kornél Mundruczó whose vision of the work, imported from Geneva, certainly promises to be intriguing.

Tristan und Isolde, Maggio Musicale Fiorentino, May 2027.

The Maggio orchestra is one of the finest in the Italian Republic and this opportunity to hear them in Wagner’s intoxicating score is an unmissable one.  The house has cast the run with experienced Wagnerians, led by Simon O’Neill and Anja Kampe in the title roles.  They will be joined by Okka von der Damerau, Iain Paterson and Brindley Sherratt.  Similarly, with the musical direction confided to Alexander Soddy, the evening will certainly be in safe and experienced hands.  The staging is by Keith Warner, one of those names one often sees, although I find it hard to recall what I might have seen by him. 

Tannhäuser, Teatro Real, May 2027.

This new production of Tannhäuser at the Teatro Real promises to be set in a science-fiction, post-apocalyptic universe, which is certainly an absorbing prospect.  This is a common theme in David Hermann’s work, and I’m keen to see how he makes it work with an opera that focuses on religious piety and sexual liberation.  As always, the casting at the Teatro Real is extremely luxurious.  We have Andreas Schager and Clay Hilley in the title role, Ludovic Tézier and Andrè Schuen as Wolfram, Malin Byström and Elisabeth Teige as Elisabeth, and Aušrinė Stundytė and Irene Roberts as Venus.  Gustavo Gimeno conducts.

Götterdämmerung, Bayerische Staatsoper, June – July 2027.

Tobias Kratzer’s Ring cycle in Munich has so far been one of the most compelling cycles of the past few decades.  He’s imagined the work as an allegory for our troubled times, with stagecraft of staggering virtuosity; while the house has cast it very much from strength, showcasing the new generation of Wagnerian talents.  Following Siegfried in November, the cycle comes to a close next summer with this new Götterdämmerung.  It will bring back several of those singers seen in earlier instalments, not least Miina-Liisa Värelä’s Brünnhilde, alongside Benjamin Bruns as Siegfried.  Vladimir Jurowski conducts.  The house has only scheduled three standalone performances, alongside two complete cycles, so demand for tickets is expected to be exceptionally fierce. This promises to be one of the must-sees of 2027.

And there you have them, some very personal Hot Tips for the season ahead.  Now, what are you looking forward to?