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Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.

Has Health and Safety finally caught up with the Spanish Inquisition? A flameless auto-da-fé and some low-key individual performances meant this revival took time to hit its stride. 

There’s nothing like a trip to The Barber to refresh you. This season, the Metropolitan Opera revives Bartlett Sher’s 2006 production of Rossini’s comic masterpiece, The Barber of Seville. 

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

In 1971, the thirty year-old Placido Domingo made his Covent Garden début as Cavaradossi in Puccini's Tosca and in the intervening forty years, he has given two hundred and thirty performances in more than twenty-five roles for Royal Opera House audiences.

The message in Paul Curran's new production of Rimsky-Korsakov's The Tsar's Bride is a simple one: violent and powerful men are the same in every era. And, of course, no good can result from the violence. If the opera's title made you expect a happy and light-hearted occasion, think again: it's definitely not that sort of Royal Wedding.