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Top notch singing, judicious pruning and production which prioritises human drama over camp spectacle make for an illuminating take on Handel's most frequently staged opera.

A Rossini comedy should sparkle, but this new production, starting its tour from Hackney, is decidedly lacking bubbles.

Donizetti’s tale of one the Italian Renaissance’s objects of hate is well sung and superbly acted in ETO's new spring tour production.

A fine cast breathes life into the story of the captured Ottoman Sultan Bajazet and his Mongol conqueror.

A revival of James Conway's staging of Ottone launches English Touring Opera's autumn season of three Handel operas. 

It sizzles with energy, fizzes with musical delight and rejoices in an understated sense of fun. Conway gives the work’s incongruities free rein and defies the audience not to chuckle.

James Conway's production for English Touring Opera returns in a trimmed-down, single-evening guise. 

It is clear that these women are already ripe for plucking even before Don Alfonso unleashes his dastardly plan.

English Touring Opera’s new Radamisto took time to settle down on opening night.

Conway's decision to render Handel's epic in its entirety was let down by a static staging and unnecessary repeats that masked the hidden gem-like arias.

ETO's charactistically clear, simple production conveys Homer's story with clarity, confidence, and charm – and even humour – from a fine cast, making an exciting start to fully-staged opera at Saffron Hall. 

Updating 470BC Abydos to a 1940s RAF base complete with tin hangar and outdoor privy seemed at times more Dad’s Army than a particularly cohesive tale of war and love.

Agrippina was a force to be reckoned with: the granddaughter, sister, niece, wife and mother of four Roman Emperors (and lover, incestuously, of at least two). As Mary Beard points out in her brilliant programme introduction, “Agrippina was probably the best connected woman that the Roman world ever saw” – and one of the most ruthless.

“... and as Venice in many things surpasses all places else where I have been, so are these Operas the most excellent of all its glorious Vanities.” So wrote the entranced English traveller Richard Bargrave in 1655. These days, however, Venice travels to England in the form of the English Touring Opera’s 2013 autumn season production.

When the Baroque movement in art ended, the backlash was severe. The very adjective became an insult: the cold, clear, rarefied eye of 18th-century Neoclassicism found its opulence stifling, its luxury oppressive, and its profusion of ornament, ugly.