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David Pountney completes his “Verdi trilogy” for the company but although his staging has fluidity, it lacks an explosive ending... and the vocal performances disappoint. 

It is a thing of wonder that Roberto Devereux is one of Donizetti’s lesser known works. Whether on account of its challenging soprano part, or its fussy Tudor setting, it is rarely performed, but contains some of the composer’s most beautiful – and indeed memorable – arias and duets.

Even given a routine revival, McVicar's staging has much to recommend it, returning the opera to its literary roots. 

A committed cast make this  a beautifully performed ensemble piece in which the tragedy of young love cut short by untimely disease is compellingly put across.

When the entire plot is triggered by a freak accident, you can't blame director David Pountney for making Fate itself one of the key characters.  

After his affectionate treatment of La fanciulla del West for ENO and his devastating Suor Angelica for the Royal Opera, Richard Jones’ new La bohème is disappointingly bland.

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

Weaknesses in the staging did little to dim the musical pleasure of hearing Sir Mark Elder conduct Weber's masterpiece with OAE forces and an impressvee cast

Philip Pullman's exotic adventure about a girl determined to follow her father's footsteps gets a gently magical outing with Sri-Lankan inspired shadow puppetry and a strong cast. 

David Alden’s muddled clichés failed to convince all the time, but Edward Gardner steered us through a thrilling musical account of Tchaikovsky’s terrific opera.

Take an exquisite production of a Puccini tearjerker, cast it attractively… then crush its fragile wings under the weight of the Albert Hall’s vastness.

Elder led a performance that twinkled with Rossinian wit, while Serena Malfi left you clamouring for a swift return to Bow Street.

English Touring Opera's production of Mozart's The Magic Flute launches in Hackney, balanced more towards fun than profundity, with some stunning coups de théâtre.

Paul Bunyan is something of an oddity in Benjamin Britten’s oeuvre; a satirical operetta (with a libretto by W.H. Auden) about pioneers in America who are led by a gigantic lumberjack. 

This week the Linbury Studio Theatre attracted an audience of the more minute variety with its dazzling production of The Firework-Maker’s Daughter. Based on Philip Pullman’s novel, the two-act opera transported its listeners into the realms of the Far East with papery costumes, Indonesian shadow puppetry and hand-crafted pyrotechnics.