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Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.

A lyrical yet zesty account of Mozart's' adorable score, in a production that is on the nose and off the wall. 

After more than a quarter of a century, Janáček’s late masterpiece returns to the Canadian Opera Company, but falls short in charm, magic, and humour.

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.

A memorable outdoor Traviata from a young cast who immerse us completely in the story.

Bieito’s Carmen is now a mainstay of ENO's repertoire, but with an excellent central cast led by Sean Panikkar and Justina Gringytė, the production feels entirely fresh. 

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

The American Dream hits Ally Pally in a vivacious performance of Britten's eclectic operetta, headlined by an ENO chorus who knock it out of the park.

Not since Monty Python has there been more fun with a chorus of lumberjacks.

RCS forces tackle Jonathan Dove’s The Day After, Ovid’s tale of Phaeton’s disastrous chariot ride, pulling the sun across the sky with infectious raw energy and verve.

Several audience members didn't bother to return after the interval, and there were a few walkouts even before that. It seems Christopher Alden's darkly brilliant new production isn't for everybody. But those of us who stuck it out for the full three hours were rewarded with a reminder that beneath the surface of the Shakespeare-based fairy fable lurk some disquieting truths.

"Intermezzo" has submitted an excellent and comprehensive review of the opening night of this classy new production, but I was so shocked to hear booing from neighbouring seats that perhaps I might be permitted to add this view from a relative opera novice? I've not seen this opera before, or even the Shakespeare play, so although I had nothing to compare it with, I also had nothing to miss in th