Despite a condescending commentary, a strong performance from Anja Kampe as Leonore made this concert staging of Fidelio at the Royal Festival Hall thoroughly enjoyable.
An all-Tchaikovsky programme of opera and ballet was an appealing way to enter the Christmas period, especially under the energetic baton of Jac van Steen.
It's not his most commonly performed work, but with a crack team of vocal (and orchestral) soloists, Andrea Marcon and the Venice Baroque Orchestra gave a fabulous account of Vivaldi's only surviving oratorio.
In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.
Clever staging and a high standard of acting does much to happily while away the three hours of this baroque opera in the second of ETO's Baroque extravaganza.
This revival of Catherine Malfitano’s excellent 2010 production features some splendid singing from Gwyn Hughes Jones as Cavaradossi – but is let down by some poor diction and varying drama.
A fine account of Bruckner's Fourth Symphony was let down by the choice of the original version of the score, whilst Beethoven's Piano Concerto no. 1 saw some idiosyncratic playing.
As Esa-Pekka Salonen resumes his Stravinsky series, he turns his attention to three underperformed works based on key figures of Greek mythology: Orpheus, Apollo and Persephone.
The enterprising forces of Opera Settecento brought the nearly forgotten music of Hasse's Demetrio to the Cadogan Hall, and in the process showed that this composer can easily match his more popular contemporaries.
