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Strong musical performances in a flawed and confused production revived for the autumn season at Glyndebourne. 

Directed by Matthew Eberhardt and conducted by Matthew Kofi Waldren, this semi-staging of Bizet's opera is well worth experiencing, despite its weak plot. 

Buxton International Festival presents Rossini's exhilarating La donna del lago with fine singing, but it is undermined by Jacopo Spirei's staging. 

Injustement délaissé depuis l'incroyable succès lors de sa création en 1831, on découvre avec ravissement l'œuvre décisive de Meyerbeer.

WNO finally emerges from the pandemic with a performance of The Barber of Seville full of emotion and elation.

An emotionally intense Violetta from Mané Galoyan in Tom Cairns' darkly challenging La traviata launches Glyndebourne Tour's 50th season

A mural depicting Etna erupting is the only hint of Sicily in Stefan Herheim’s opulent staging, returning to Covent Garden for the first time since the Royal Opera’s Verdi bicentenary celebrations in 2013. 

A simple, but funny production with a strong cast and an enthusiastic chorus brought Rossini's comedy to life.

Director Jo Davies' staging of Mozart’s dramma giocoso for Nederlandse Reisopera is a high-spirited  affair packed with humour, where the emphasis is decidedly more on giocoso than on the dramma.

Opera Holland Park's traditionally staged Cenerentola has plenty of sparkle and a fine cast of talented singers.

Welsh National Opera's new production of The Barber of Seville disappoints in an uncoordinated performance in Bristol. 

A traditionally staged Le Pré aux clercs fresh from Paris' Opéra Comique is presented with colour and joie de vivre.

Scottish Opera's La Cenerentola is colourful, fun-filled and packed with tunes. Russian mezzo Victoria Yarovaya shines in the title role.

Unlike its première, disaster is averted in Opera Holland Park's Il barbiere di Siviglia, where a solidly traditional production is lit up by some splendid vocal performances. 

If anyone tells you that all opera is highbrow, Offenbach's Orpheus in the Underworld provides you with a perfect example of the opposite. It's coarse, raunchy, fast, fun, and continually pokes fun at the conventions of grand opera.