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Paul Roberts' Quadrophenia – A Mod Ballet offers very memorable performances from its leading protagonists in a compelling piece of dance theatre.

The Toronto revival of Michael Grandage’s straightforward but elegant production shields Puccini’s genius from contemporary critiques. 

Kenneth Tindall's epic Casanova is a huge success for all concerned in Riga.

A superb orchestral performance from Paul Agnew and The English Concert lights up a breezy and fun staging of Rameau's ballet bouffon.

Louisa Muller returns to revive her 2019 production, preserving the ambiguity – did the Governess see these things or imagine them? 

Michael Grandage's vivid production of Mozart's comic masterpiece is fast becoming a classic and is revived here to a very high standard.

Kenneth Tindall's Casanova is a rare example of an excellent British ballet on a grand scale, the most effective coup de théâtre coming in a momentous finale.

Director Louisa Muller overcomes the problems of opening a ghost story in natural daylight to deliver plenty of operatic chills. 

The Met's spectators love Mozart’s opera, but they deserve an updated staging.

We all know of Casanova, the lover; now, we have a Casanova to love

Don Giovanni is an opera which has as its title character a man who is an unrepentant womaniser, who ultimately receives his just reward in one of the most famous scenes in opera where he is consumed into the fires of hell.

Simon Keenlyside returned to the Met after absence and led a delightful cast of Don Giovanni at the Met.

1960s kitsch set in old Seville, excellent acting and movement direction combines with strong singing and immaculate playing from the OAE to make Glyndeboune's Le nozze di Figaro a triumph.

This production proves that even Mozart’s best-laid plans can be undone.

You can view Britten’s Billy Budd as an opera about the failure of words. When the angelic sailor Billy is falsely accused by his superior office Claggart, his stammer prevents him from defending himself and he lashes out, fatally.

Don Giovanni is perhaps the most difficult of the Mozart–Da Ponte opera trilogy to stage. Not only is there the problem of how exactly the Don is to be consumed in flames at the end of its three-hour span, or the issue of how to make the statue of the Commendatore come to life.