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Die heißesten Operntickets in London in dieser Season zeigen Anna Netrebko und Jonas Kaufmann vereint auf der Bühne der Royal Opera. Das Warten hat sich gelohnt.

David Aldens Neuinszenierung am Royal Opera House, die ans faschistische Deutschland anspielt, ist eintönig, aber es gibt musikalische Entschädigungen.

Nach all den Spekulationen gab Jonas Kaufmann sein Rollendebüt als Otello an der Royal Opera - ein beeindruckender, wenn nicht uneingeschränkter, Erfolg.

Ich kam wie sonst auch beim Royal Opera House an, machte es mir auf meinem Sitz bequem und – können Sie es glauben – die Oper war weg!

Àlex Ollé und sein Fura dels Baus-Team bringen eine optisch spektakuläre Norma auf die Bühne, die erste Covent Garden-Neuproduktion von Bellinis Oper in fast 30 Jahren.

Johan Reuter steht an der Spite der Starbesetzung einer erleuchtenden Interpretation von George Enescus Meisterwerk, gestützt von der spektakulären La Fura dels Baus-Inszenierung-

Eine packende Doppelvorstellung von „Cav'n'Pag“ des italienischen Regisseurs Damiano Michieletto in Covent Garden mit einigen überraschenden Gastauftritten.

Joseph Calleja und Anna Netrebko zeigen ihre stimmlichen Qualitäten und führen eine Starbesetzung über einer wenig ansprechenden Orchesterleistung in John Copleys Royal Opera-Inszenierung von La bohème in ihrer letzten Spielzeit.

Aleskandra Kurzak gibt in der neuesten Wiederaufnahme von Il turco in Italia als Fiorilla eine top Darbietung und führt eine Starbesetzung an, während Evelino Pidò uns zeigt, wie man Rossini dirigiert.

Erstklassige Darbierungen von Stephen Gould und Nina Stemme werden in der Wiederaufnahme von Christof Loys spartanischer Produktion an der Royal Opera von einer herrlichen Orchesterleistung gestützt.

Karita Mattila and Jane Archibald machen die Ariadne auf Naxos der Royal Opera ein Muss.

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

Marianela Núñez possesses a shimmering, celestial radiance and Vadim Muntagirov is a Prince in his prime.

A uniformly excellent ensemble enlivens the Royal Opera House's latest Bohème revival.

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

The first post-lockdown performance by The Royal Ballet offer an important indicator for the company's future.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.

Sir Peter Wright’s festive treat is back – and Covid-secure – as the Royal Opera House stages its first full-length staged performance since the theatre closed in March.

It’s the title character who gets the best tunes in Ariodante and Irish mezzo-soprano Paula Murrihy ate them up. 

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

Christine Rice gives an astonishingly performance in an evening of four powerful chamber pieces.

An event that will be long-remembered for the importance of the occasion, if not for its content. 

After a few streamed events with chamber forces, the full orchestra and chorus returned to the House – albeit not in their usual positions – for an entertaining fundraising gala.

Dame Sarah Connolly and David Butt Philip prove that less really can be more.

In its 25th anniversary season, Richard Eyre's production continues to attract the world's great sopranos to the role of Violetta, the latest being Aleksandra Kurzak. 

An outstanding role debut from Davidsen, a star-studded vocal cast and a revelatory orchestral performance make a Beethoven anniversary performance to savour.

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

Barry goes for out-weirding Carroll at a fast and furious pace. There's plenty of fun and it's beautifully staged – but is that enough?

John Cranko's balletic take on Pushkin approaches its 100th performance by The Royal Ballet, opening this run with a magnificent Tatiana from the Russian star. 

This third revival of Richard Jones' production is thoroughly competent but struggles to rise above the routine.

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

The American must be one of the few tenors to tackle both Rossini and Verdi's Moor with success. 

A ballet of charming nonsense, led by a triumvirate of exceptional performances 

Benjamin Britten's final opera hasn't been staged by The Royal Opera in over 25 years, but his setting of Thomas Mann's Death in Venice receives a great new production by Sir David McVicar. 

On the evidence of this performance, there is every reason to be cheerful.

The first mixed programme of the new season is led by a stellar cast.

Sir Bryn Terfel relishes every nuance of the text, but Damiano Michieletto's reading of Donizetti's comedy is no laughing matter. 

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

The Royal Ballet season opens with a MacMillan favourite, his ballet adaptation of a novel more familiar for its operatic treatment. 

Edward Gardner brings out the Wagner influence in Massenet's opulent score, Juan Diego Flórez give a persuasive performance in the title role.

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

The young singers spin any raw material into opera gold, sending the audience home as uplifted as if they’d just glugged a bellyful of Pimm’s.

Top drawer singing and comic acting bring out the comedy in Laurent Pelly's light-hearted production

An exquisitely matched pair of sopranos as Susanna and the Countess make up for some quirky casting elsewhere. 

Barrie Kosky's divisive production returns to The Royal Opera but has lost its zing. 

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.