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Phelim McDermott begibt sich in Philip Glass' Altes Ägypten: eine Produktion mit Starauftritt von Anthony Roth Costanzo, die zu sehen und zu hören absolut fesselnd ist.

Calixto Bieitos neue Produktion von Verdis Die Macht des Schicksals für die Englische Nationalopar ist - für ihn - eine zahme Angelegenheit.

Die ENO war in der letzten Woche aus den falschen Gründen in den Nachrichten und Richard Jones' Meistersinger von Nürnberg musste dringend eine großartie Produktion werden. Mit einer glänzenden Vorstellung von Iain Paterson ist sie das.

A witty, insightful production at the Coliseum fizzes with comedy and pathos. 

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

Verdi and Schiller lose out to Barbora Horáková in a new staging for English National Opera. 

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. 

The co-existence of amateurs and professionals is weighted firmly towards the latter.

Mezzo-soprano Rachel Kelly and soprano Susanna Hurrell were the eponymous pair and, my, how they chewed the scenery.

Director Purni Morell sandpapers every trace of spikiness from Purcell's Dido and Aeneas, leaving the production a victim of its own good intentions. 

The American Dream hits Ally Pally in a vivacious performance of Britten's eclectic operetta, headlined by an ENO chorus who knock it out of the park.

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

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

Jonathan Miller's production of La bohème is revived by ENO and features an important house debut. 

The music’s explosions of volume have an open-throated magnificence.

It’s the sprig of nightshade on a blood-red confection.

Porgy and Bess isn’t a perfect opera, but English National Opera's new production is a strong one. 

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

Not since Monty Python has there been more fun with a chorus of lumberjacks.

It's hard to find anything not to admire in a thrillingly strong production of Britten's haunting chamber opera. 

An intimate setting for the 18th-century work do from hell.

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.

Despite the entertainment value and striking imagery, Kramer's production is a surprisingly dull affair, with curiously little chemistry between the lead couple.

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

Cal McCrystal goes long on the ham and keeps the gags flowing in a visually stunning production that will delight G&S lovers.

Glass' meditation on Gandhi's principles of non-violent resistance is powerfully treated in Phelim McDermott's virtuosic 2007 staging.

A decent cast was unable to redeem a fundamentally dull opera that lacks the psycholgical complexity and tension of both the original Graham novel and its famous Hitchcock adaptation.

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

English National Opera join with the BBC Singers to make Royal Festival Hall debut.

Lawrence Brownlee gives a compelling performance that truly does the groundbreaking saxophonist justice. 

Christopher Alden's account of Handel's love pentangle is long on Man Ray imagery and modern language wordplay, but never hits the vocal highs and eventually palls.

An operatic take on The Winter's Tale – categorised as one of Shakespeare’s ‘problem plays’ – premieres at English National Opera. 

There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice. 

Jonathan Miller's production remains a work of brilliance, but poor conducting amongst other things keeps this revival from getting off the ground.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

Penny Woolcock's shanty town production continues to improve with each outing. This time, ENO has found singers who can negotiate the vocal challenges more naturally. 

This revival of Catherine Malfitano’s excellent 2010 production features some splendid singing from Gwyn Hughes Jones as Cavaradossi – but is let down by some poor diction and varying drama.

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

In Janáček's searing excoriation of small town social mores, superb orchestra, singing and acting make this revival of David Alden's Jenůfa into an unmissable evening of opera.

English National Opera's new Tristan is at its best when responding to Anish Kapoor's stunning stage sculptures.

The sheer opulence of Minghella's staging often overwhelms, drenched in colour. Is that enough to really get to the core of the drama though, or is it all surface gloss?

English National Opera’s first staging of Bellini’s bel canto masterpiece is a musical and dramatic triumph.

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

Miller eschews the oriental side of the tale, seeing The Mikado as a play on daft British eccentricity. 

Despite some fine singing, Benedict Andrew's production of La bohème for English National Opera is devoid of heart. 

A wittily staged, but variably sung twelfth revival of Jonathan Miller's production at the Coliseum. 

Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.