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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.

Director Francesco Micheli undersells Handel in this Glyndebourne debut, but there's plenty of froth to keep the audience entertained. 

Jane Archibald gave possibly the most dazzling account of Cunegonde's music that I’ve heard. 

Osborn absolutely lives the part; he negotiated formidable heights, intricate passage work and the sheer volume of notes with style and clarity as well as colour and nuance. 

Neither Simon Rattle nor Magdalena Kožena could resist a tendency to add sentiment.

Even without stage machinery or sets, The English Concert’s performance of Handel’s Rinaldo was enchanting. 

There were plenty of vocal fireworks in this concert performance of Handel’s opera. 

Joseph Haydn’s opera Orlando Paladino was once cited as “a mixed salad of madness, mayhem and true love”. A recent revival in Zurich supports that assessment.

Jane Archibald and Ruxandra Donose provide a compelling prologue to Ariadne auf Naxos, while Karita Mattila's majestic performance lights up the opera seria second half.

An updating of Mozart's Die Entführung aus dem Serail to the post-World War One era in a desert fails to inspire in Aix. 

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

The Concertgebouworkest's series based on 'the sublime' continues with an eclectic programme of Ockeghem, Ligeti, Varèse and Ravel at the Concertgebouw. 

As revivals go, Karita Mattila and Jane Archibald make the Royal Opera's Ariadne auf Naxos a must-see.