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Die heißesten Operntickets in London in dieser Season zeigen Anna Netrebko und Jonas Kaufmann vereint auf der Bühne der Royal Opera. Das Warten hat sich gelohnt.

David Aldens Neuinszenierung am Royal Opera House, die ans faschistische Deutschland anspielt, ist eintönig, aber es gibt musikalische Entschädigungen.

Nach all den Spekulationen gab Jonas Kaufmann sein Rollendebüt als Otello an der Royal Opera - ein beeindruckender, wenn nicht uneingeschränkter, Erfolg.

Ich kam wie sonst auch beim Royal Opera House an, machte es mir auf meinem Sitz bequem und – können Sie es glauben – die Oper war weg!

Àlex Ollé und sein Fura dels Baus-Team bringen eine optisch spektakuläre Norma auf die Bühne, die erste Covent Garden-Neuproduktion von Bellinis Oper in fast 30 Jahren.

Johan Reuter steht an der Spite der Starbesetzung einer erleuchtenden Interpretation von George Enescus Meisterwerk, gestützt von der spektakulären La Fura dels Baus-Inszenierung-

Eine packende Doppelvorstellung von „Cav'n'Pag“ des italienischen Regisseurs Damiano Michieletto in Covent Garden mit einigen überraschenden Gastauftritten.

Joseph Calleja und Anna Netrebko zeigen ihre stimmlichen Qualitäten und führen eine Starbesetzung über einer wenig ansprechenden Orchesterleistung in John Copleys Royal Opera-Inszenierung von La bohème in ihrer letzten Spielzeit.

Aleskandra Kurzak gibt in der neuesten Wiederaufnahme von Il turco in Italia als Fiorilla eine top Darbietung und führt eine Starbesetzung an, während Evelino Pidò uns zeigt, wie man Rossini dirigiert.

Erstklassige Darbierungen von Stephen Gould und Nina Stemme werden in der Wiederaufnahme von Christof Loys spartanischer Produktion an der Royal Opera von einer herrlichen Orchesterleistung gestützt.

Karita Mattila and Jane Archibald machen die Ariadne auf Naxos der Royal Opera ein Muss.

Sir David McVicar's classic staging of The Magic Flute, now over 20 years old, shines afresh in a stylish performance conducted by Marie Jacquot, making her Covent Garden debut.  

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

Joyce El-Khoury saves the day in The Royal Opera’s second revival of The Sicilian Vespers in Stefan Herheim’s paint-by-numbers production. 

Oliver Mears' new staging impresses and Jakub Hrůša's first season as Music Director excites interest. But the evening belongs to Anna Netrebko.

It was a wonderful, heartening afternoon – it’s no wonder nearly all the 2025 graduates have gained contracts with several major ballet companies.

Superb Handelian singing and intense character acting light up Handel’s Semele, staged as a stark, uncompromising indictment of the rich and powerful. 

Christopher Wheeldon's Alice's Adventures in Wonderland shows off The Royal Ballet's roster of supreme dance actors in every version of technical wizardry and comic incarnation.

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

Stripped of its original superstar casting, Gounod’s grand opera provides entertainment but fails to cohere. 

A showcase presenting the rich diversity of Christopher Wheeldon’s choreography should become a staple in The Royal Ballet's calendar.

A compelling performance of MacMillan's Romeo and Juliet from an excellent cast, proves to be a triumph for Patricio Revé, debuting with the Company and paired with Natalia Osipova.

The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

Aigul Akhmetshina is on the verge of becoming the definitive Carmen; in this first revival of Michieletto's 2024 production at Covent Garden, she delivers the standout performance. 

A triple bill of works by Balanchine shows off both the dancers’ versatility and his own wide ranging skills as a choreographer. 

Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

“But, soft, what light through yonder window breaks?” Yasmine Naghdi reaches new interpretative depths in this revival of Sir Kenneth MacMillan’s classic Romeo and Juliet. 

Giacomo Sagripanti’s live wire dynamics and keenly judged tempo choices keep this revival of Verdi's Il trovatore buoyant at Covent Garden. 

Overall, Light of Passage is one of those glorious pieces where music, choreography and design meld together to make theatrical magic.

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

Two individual works worth seeking out with outstanding performances in each.

Strong performances by chorus, orchestra and the father-daughter pairing of Amartuvshin Enkhbat and Anna Pirozzi make this Covent Garden revival well worth the visit.

The welcome revival of a borrowed jewel in The Royal Ballet's treasure chest of story ballets.   

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

Kate Lindsey and Heidi Stober weave vocal magic in the latest Covent Garden revival of Humperdinck's box of delights. 

It's not without flaws, but the latest revival of Richard Jones' beautiful production of Puccini's beloved Parisian tale has drama aplenty.

The Royal Ballet revive Ashton's masterpiece with some superlative leading performances in a production that is visually rich and imaginative.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

The combination of spectacular backdrops and evocative film projections are visually stunning and the dancers are superb, but Wayne McGregor's MaddAddam is difficult to follow.

With gloriously inventive sets and costumes, Alex Esposito’s splendid Four Villains drive a wonderfully entertaining new production.

In a quadruple bill of contemporary works, The Royal Ballet's dancers shine in this diverse programme, creating an immersive experience.

Henry Neill gives a devastating performance as Sam in Trouble in Tahiti in The Royal Opera’s Bernstein double bill in the Linbury Theatre. 

This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.

Last seen in 2017, Christopher Wheeldon’s take on the classic Lewis Carroll novel returns to the Royal Opera House stage, or rather Royal Ballet and Opera as we must now call it.

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

As Richard Eyre’s staging reaches its 30th anniversary, a new Violetta arrives on the Royal Opera block in what proves to be one of the best revivals in recent years. 

Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour.