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Unter der Leitung von Harry Bicket lässt das Orchester La Scintilla die Funken sprühen. Und Jetske Mijnssen bringt das Machtgerangel eines fiktiven heutigen Familienclans auf die Bühne.

Gianandrea Noseda, ein leidenschaftlicher Verdi-Kenner, bringt die unterschiedlichen musikalischen Sphären des Stücks brillant zum Klingen. Die Regisseurin Adele Thomas findet für den schicksalhaften Gang der Handlung ein schlüssiges Symbol. 

Die Dirigentin Emmanuelle Haïm und die Regisseurin Jetske Mijnssen ziehen am gleichen Strick und lassen Rameaus Platée sowohl als musikalische als auch theatralische Komödie erscheinen. 

La mise en scène de Jetske Mijnssen déçoit, au contraire de la réalisation musicale proposée par une belle distribution réunie sous la direction intelligente de Sébastien Daucé.

Adele Thomas makes a good case for Semele's operatic credentials in her production which makes effective nods towards Baroque opera’s devotion to spectacle.

Robert Murray excels as the eponymous king in the opera seria that cemented the 14-year old Mozart’s position as the next big thing. 

Director Adele Thomas can do no wrong, sustaining her extraordinary run of fizz with this unlikely concatenation of four Handel cantatas at Stone Nest.

Alcina also disappoints as a showcase for sustainable opera, despite that being Opera North’s pledge for this production. 

L'opéra méconnu de Verdi bénéficie d'une belle direction musicale, d'une mise en scène parfaitement lisible et d'une distribution convaincante.

Visual eye candy, excellent singing and superb Handelian playing by Laurence Cummings and the London Handel Orchestra are marred by poor diction and limited acting expressivity.

Venables conceived a wealth of acoustic and visual components that constantly overlap and interact.

Opera North's triumphant UK première production of Silent Night by Kevin Puts is directed at Leeds Town Hall by Tim Albery and conducted by Nicholas Kok.

If you had received an invitation to a masked ball at which there turned out to be no masks and no dancing, it's understandable you'd feel disappointed. 

Two thematically linked, but contrasting short operas are the final component of Opera North's Little Greats season at the Leeds Grand Theatre.

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. 

Philip Venables' 4.48 Psychosis is the first musical adaptation of the eponymous play by Sarah Kane, which is the culmination of a three-year programme run jointly by the Royal Opera and Guildhall School of Music and Drama.

Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar.