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Martin G Berger exhaustively reworks the story and the libretto of Salieri's Cublai, gran kan de' Tartari and throws the kitchen sink at this new production, but not everything lands well. 

A wonderful cast conducted by William Christie in a new production of L’incoronazione di Poppea at the Salzburg Festival. 

An early Christmas celebration in Budapest, with four of Bach's cantatas from his Christmas Oratorio.

In Nicholas Hytner's chocolate box production, lovingly revived by Bruno Ravella for Glyndebourne's tour, Alfonso is the most charismatic character on the stage.

The advantage of staging a rare opera such as Cavalli's Hipermestra at Glyndebourne this year is that the director can work with a blank canvas without audience’s preconceptions.

Opera Vlaanderen revives a production of Handel's Agrippina based on American soap operas of the 1980s.

Concerto Köln, honed to perfection, and an accomplished cast star in Claus Guth's tense, dark staging of Handel's Jephtha. 

Scottish Opera's imaginative Orfeo ed Euridice is a well sung wild visial feast with added dancing thrown into the mix by Ashley Page. 

Conductor Alan Curtis and musicologist Alessandro Ciccolini have successfully restored Vivaldi's opera Catone in Utica, and they brought it to the Théâtre des Champs-Élysées in Paris with a star performance from mezzo Ann Hallenberg.

Francesco Cavalli's Egisto is a true feast for the senses in director Benjamin Lazar's conception, realised with conductor Vincent Dumestre at the Grand Théâtre de Luxembourg.

After Cavalli’s Ercole Amante in 2009 and Handel’s Deidamia in 2011, De Nederlandse Opera is continuing its exploration of obscure Baroque operas with Gluck’s Armide, until 27 October.I always wondered why Armide was Gluck’s own favourite work.

New York is again lucky to host William Christie and Les Arts Florissants at the Brooklyn Academy of Music. Their visits are always special, and it’s not just because the unique nature of their repertory – Baroque opera, usually French, which is neglected by most of New York’s major companies – nor the virtuosic ease with which they embody this otherwise-foreign idiom.

One of the most sophisticated offerings in the 2012 Festival d’Aix-en-Provence is a new production of Marc-Antoine Charpentier’s David et Jonathas.