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In arguably its best production to date, theatre luminary Neil Armfield combines with Pinchgut and Erin Helyard for the first time to deliver this electrifying production of Rameau's comic masterpiece, Platée.

Brett Dean's Hamlet is an extremely powerful theatrical experience, excelling in all aspects of production, singing and musical values, but is it an opera?

The Perfect American, a fictional account of the final months of Walt Disney’s life, is a visually rhythmic flow of scenic magic on a blended Glass base – gently but harrowingly absorbing.

Martin Lloyd-Evan's highly sensitive production features a show-stealing performance by Richard Burkhard but is marred by problems of orchestral balance.

Salome was a huge, scandalous success at its 1905 première, and stagings of this, Richard Strauss’ third opera, have continued to shock audiences over the past century. This is hardly to be wondered at: after all, the title character’s final monologue ends with her kissing the severed head of John the Baptist, whom she has had executed for spurning her advances.

Korngold’s Die tote Stadt is an extraordinary opera, an often underrated masterpiece of the 20th century. On the face of it, it has a simple plot – the protagonist Paul, unable to overcome the death of his wife, falls in love with another woman, Marietta, similar to his dead wife in many ways.