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In a setting that might be The Grange itself, a production which steadily tightens its grip until a blistering finish.

Multi-sensory music? Scriabin's Prometheus, Poem of Fire tickles the senses in an ecstatic performance under Stanislav Kochanovsky. 

Every decade or so, The Royal Ballet creates a new work that will endure in its signature collection, and there's little doubt that Woolf Works deserves its place among that elite.   

Julia Burbach's new production lacks poetry in spite of an admirable cast led by Samuel Dale Johnson in the title role. 

David Pountney completes his “Verdi trilogy” for the company but although his staging has fluidity, it lacks an explosive ending... and the vocal performances disappoint. 

Michael Barker-Craven directs and Renato Balsadonna conducts this successful revival of Puccini's La bohème in Opera North's production at Leeds Grand Theatre.

Even given a routine revival, McVicar's staging has much to recommend it, returning the opera to its literary roots. 

An impressive Italian première of a reconstruction of Sardanapalo in Lerici.

Amicus chamber orchestra celebrated its NYOS roots by inviting 25 young players to join them for their powerful 10th Anniversary concert, conducted by Catherine Larsen-Maguire with Glasgow-trained soprano Anush Hovhannisyan.

Semyon Bychkov turned in a magisterial account of Mussorgsky's rugged score, aided and abetted by some strong vocal performances.

Juha Hemánus' terrific semi-staging of Peer Gynt, using Grieg's incidental music, is the impresses at the Royal Festival Hall. 

School’s out for summer and with it the opportunity for the Royal Opera’s Jette Parker Young Artists to showcase their talents in the end of term main stage performance. 

Kristine Opolais offers a nuanced, moving Cio-Cio-San in a solid revival of Moshe Leiser and Patrice Caurier’s sepia and cream production of Madama Butterfly at the Royal Opera.

Chelsea Opera Group presents the strongest case imaginable for Massenet’s Le Roi de Lahore, with Michael Spyres, no less, as the King. 

Figaro rules the roost on the main stage this autumn, but buried in the Nibelheim of the Linbury Studio, Rossini'ss early comedy La scala di seta receives its first ever production by the Royal Opera.

If you want to have your operatic head seriously messed with, imagine the following: Così fan tutte staged on the Act I/IV set of John Copley’s soon-to-be-mothballed La bohème, which closed with a double performance on Saturday afternoon and evening. Throw in Don Alfonso sporting frock coat, wig and cane, looking for all the world like Baron Scarpia, and the mash-up of references had my head spinning.

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.