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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.

Never has Brecht and Weill’s satire on the inhumanity of man to man been render with such utter darkness; Simon O’Neill heads up a superb cast.

Many world class performances to enjoy in this 20th edition of the annual Ballet Icons Gala.

English National Opera's revival of Phelim McDermott’s popular production is a blend of spectacle with some first-class singing, with Lucy Crowe emphasising her Mozartian credentials. 

ENB have brought Akram Khan’s Giselle to London's Coliseum for the first time. It’s looking better than ever and should not be missed.

Returning for its first anniversary, Arielle Smith and Aaron S Watkin’s Nutcracker for English National Ballet remains a feast for hungry eyes, despite its flaws. 

Christopher Alden’s Olivier Award-winning production of Handel’s Partenope returns to the Coliseum, but it's the singing that earns the plaudits. 

Anneliese Miskimmon's ENO production of Jake Heggie and Terence McNally's tale of crime, repentance, compassion and redemption compels from start to finish.

Julia Burbach and her designer, Herbert Murauer, are defeated by the wide canyons of the Coliseum stage in their modern-dress Cinderella. 

Ballet Icons Gala 2025 was the 19th since its inception. One can only applaud the dedication of Olga Balakleets, Founder and Artistic Director, for bringing many of the world’s most eminent dancers.

Musgrave's powerful depiction of a powerful woman at the mercy of male manipulation receives a strong staging from at ENO. 

ENO's revival features a striking performance from Mary Bevan as bride-to-be Susanna, but elements of the staging continue to raise eyebrows. 

English National Ballet give a meticulous account of Mary Skeaping's glorious Giselle.

A long-awaited new production of ENB's perennial seasonal classic is a visual feast.

Harry Fehr’s directorial debut for ENO transposes Donizetti’s tale into a World War 2 setting. Rhian Lois charms and commands as Adina.

Jonathan Miller’s game-changing mafioso setting of Rigoletto returns to the Coliseum, vividly conducted by Richard Farnes. 

Isabella Bywater directs an evocative new production of Britten’s ghost opera, well performed at the Coliseum. 

Miskimmon's relocation of the action to Ireland is unsparing in its evocation not of some tearjerking melodrama but of an almost documentary reportage on real events. 

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

The State Ballet of Georgia's first visit to London has proved competent but lacking vitality. However there is plenty of talent – it just needs realising.

A semi-staging of Bartók's tale of doors and brides at the Coliseum is saved from disaster when Jennifer Johnston steps in to sing Judith at very short notice, with the part gamely acted by Crispin Lord.

Highs and lows within a glamorous mixed bag of choreography are inevitable when people are travelling from around the world.

David Alden's production is a vivid telling of Janáček's devastating village drama. With a terrific cast and a splendid performance from the pit, this revival is an unalloyed artistic success.

English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

Miller's production, running since 1987, is starting to show its ago, but an excellent performance from Anna Devin keeps English National Opera's latest revival moving.

Margaret Atwood’s dystopic novel, masterfully adapted for the operatic stage, is strongly performed at ENO and rings even truer today than it did when it was written.

English National Ballet dance an old classic in a new light.

English National Ballet's current Nutcracker shows off the brilliance of the dancers across the ranks but after many years, the weaknesses in the plot and characterisation remain flawed.

Peter Konwitschny's production of La traviata has its flaws, but in an age of protracted media there is much to be said for his taut production of Verdi's most famous tragedy. 

English National Opera opens its new season with a revival of David Alden's masterly production. 

House debutants, soprano Nicole Chevalier and conductor Lidiya Yankovskaya, excel in Isabella Bywater's Górecki staging to close English National Opera's season.

Blue could hardly have been better rendered than here. Indeed, I wish every opera I see could be staged with such grace and finesse. 

Annilese Miskimmon directs a the first ever production by ENO of Erich Korngold's tale of bereavement, grief and the poisonous impact of lost love on an obsessive mind. 

Philip Glass' operatic take on Ancient Egyptian history returns to the Coliseum in Phelim McDermott's hypnotic production, complete with jugglers...

Even within a line-up boasting some of the greatest international stars from across the world, it is the youngest couple, making their UK debuts, who captivate the audience.

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

Bieito’s vivid production of Bizet's most famous work is a classic; his attack on toxic masculinity is visceral, made more potent by an excellent leading pair of singers.

Deane has created a production that respects the tradition of Swan Lake without unnecessary embellishment.

Wayne Eagling's production for English National Ballet does not show any signs of waning popularity... audiences still want their yearly fix!

When done as well as this, a "concert staging" is not oxymoronic, but a precise term for a valuable mode of presentation.

English National Opera's It’s a Wonderful Life makes for a feel-good evening of theatre, but it requires a sweet tooth.

Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum. 

A new-old interpretation of Giselle choreographed by Alexei Ratmansky heralds the birth of a new company drawn from ballet dancers from war-torn Ukraine. 

 Poul Ruders’ The Handmaid’s Tale comes home to English National Opera after 20 years in a powerful new production by Annilese Miskimmon.

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

Petipa's classical choreography and Glazunov's ravishing score fuse with a reimagined narrative and bold choreographic additions to create a new Raymonda for the 21st century.

Despite excellent performances, time needs to be called on Wayne Eagling's Nutcracker.