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Johann Strauss II's Die Fledermaus, was never meant to challenge grand opera for profundity and Barrie Kosky pokes fun at Viennese high society in his riotous staging. 

Given a new production by Evgeny Titov, Benjamin's second full-length opera is musically brilliant, but its examination of our inner darkness lacks heart. 

The French soprano confirms her status as the best current performer of Léo Delibes masterpiece in a concert with a solid supporting cast.

André Barbe and Renaud Doucet's Magic Flute is ideal entertainment for a fizz-filled summer night.

Orchestra and chorus reach great Wagnerian heights in this new production by Christof Loy, a study of an artist in revolt against hypocritical sexual mores.

Oper Frankfurt's revival of Richard Jones's production of Billy Budd with a homegrown cast is a devastating combination of powerful music and searing drama.

A superlative cast and perceptive staging make for a gripping revival of Strauss’s Ariadne auf Naxos at the Glyndebourne Festival.

Debussy's Pelléas et Mélisande is beautifully realised in Claus Guth's now classic production, revived with a new cast of principals at Oper Frankfurt.

Glyndebourne's annual performance at the Proms proves dramatically untraditional but musically solid.

Annabel Arden's new production, although decently sung and visually striking, is seriously under-directed, allowing forced acting to blunt the humour.

Die tote Stadt’s bid for the mainstream proceeds with a musically strong revival of a perceptive if flawed staging at Oper Frankfurt

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.