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Scion of generations of sitar players, Nishat Khan is the perfect person to tell the "greatest love story never told" behind India's most iconic building.

Sir David Pountney's 1997 staging for Welsh National Opera is given a welcome new lease of life at Grange Park Opera, splendidly cast... with one major exception. 

Strong vocal and orchestral performances, supported by impressive visuals, struggle to bring coherency to Anthony Bolton's Island of Dreams at Grange Park Opera.

A memorable performance, with Stephen Barlow conducting Janáček’s remarkable score with vividness and clarity, while David Alden's staging is a masterpiece of "less is more". 

John Doyle's emotional staging of Werther gets to the heart of Massenet's engagement with Goethe in memorable performances.      

Charles Edwards' ambitious production is well served by a strong cast as Grange Park Opera opens its season in the Theatre in the Woods. 

No hippos in tutus for The Dance of the Hours, but panto frolics abound in Stephen Madcalf's staging in the idyllic Theatre in the Woods. 

First marketed as Ivan the Terrible by Serge Diaghilev, Rimsky-Korsakov's first opera The Maid of Pskov makes a rare appearance outside of Russia, in leafy Surrey. 

Director Louisa Muller overcomes the problems of opening a ghost story in natural daylight to deliver plenty of operatic chills. 

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

Tough, thrilling, ambitious and new: The Skating Rink is an exciting new major commission by Garsington, and its world première delivered on every level.

An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.

A twist on the usual Enlightenment path, this is an admirable production, excellently executed.

Garsington's latest Rossini buffa is on the nail orchestrally, mixed vocally and one of the best pieces of acting and stage movement you'll see in opera.

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

A verdant and heavenly setting for The Creation

Mozart's messy monster of an opera gets a brutalist tidy-up at Garsington, but the determinedly straightforward reading only makes this work's innate problems more obvious. 

The away leg of Rossini's “Italian girl - Turkish guy” fixture makes for a thoroughly enjoyable evening at Garsington, without ever quite bursting into flame.

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

Garsington’s first collaboration with the Royal Shakespeare Company married an abridgement of Shakespeare’s play with Mendelssohn’s incidental music, a union which promised much but which stumbled awkwardly.

Britten’s final opera given an impressively atmospheric staging, ideally conceived for the small venue

At Garsington Opera, Richard Strauss' Intermezzo presents an utterly compelling picture of a mature marriage with its joys and trials; Mary Dunleavy brings it to life with a top class piece of acting.

Weddings bring out the cynic in me. They also bring out the cynic in Don Alfonso and it’s at a wedding breakfast that John Fulljames sets his production of Così fan tutte.