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Anthony Minghella's classic production of Madam Butterfly makes a welcome return with a sensational role debut by Natalya Romaniw as Cio-Cio-san.

Bieito’s Carmen is now a mainstay of ENO's repertoire, but with an excellent central cast led by Sean Panikkar and Justina Gringytė, the production feels entirely fresh. 

A good, honest staging and solid singing add up to an excellent new production – its third – at Opera Holland Park. 

Philip Glass' hypnotic opera returns in Phelim McDermott's outstanding production that respects the solemn, statuesque grandeur and epic ritual of the score. 

Fiona Shaw's production doesn't always get everything right, but Lucy Crowe's debut as the Countess is the defining success of the this revival.

Five years after the composer's death, his musical collaborator David Murphy ensures that Shankar's only operatic work finally gets heard.

Daisy Evans' dystopian, immersive Dutchman for Fulham Opera may be tough medicine – but, with such glorious singing on offer, it's an unmissable chance to step into Wagner's soundworld. 

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

An excellent orchestral performance and fine singing from Yvonne Howard and Heather Shipp make Opera Holland Park's Norma well worth seeing, in spite of imperfections.

Alice's story in a sparkling outdoor production for families, which will not disappoint mainstream opera enthusiasts.

Bizet’s name, ever since the early (though by no means instant) success of his last opera and major bestseller Carmen, has become synonymous with the idea of catchy tunes and exotic soundworlds. That’s the composer who is with us most of the time.

English Touring Opera’s Verdi title for their Spring season in this composer’s (and Wagner’s) anniversary year is one of no small ambition. Premièred to only modest success in Venice in 1857, it would take Verdi another 20 or so years to return to Simon Boccanegra to try to fix the old “wobbly table” (as he and his librettist, Boito, later dubbed the 1857 version).

Howling, gusting wind. Damp, bitter cold. Dark, gathering twilight. Exactly the right atmosphere, you must agree, for Donizetti's Lucia di Lammermoor, based on Sir Walter Scott's romantic historical novel of dark deeds in the grim castles of the Scottish clans, which opened Opera Holland Park's new season.