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Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

At 70 years old, American tenor Gregory Kunde makes a magnificent role debut as Captain Vere, with a strong ensemble of singers, chorus, and orchestra in Willy Decker's effective production.

Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

Unlike many Flutes, David McVicar's 2003 production treats Mozart's score as a proper opera, albeit with romp instead of pomp. 

Lush visuals and appealing singing do not quite make up for a somewhat lacklustre revival of Nicholas Hytner's acclaimed 2006 production of Mozart's late comedy.

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

Apparently, the composer himself was a notorious cheater, we can assume that some of the unsavoury themes of his 1904 opera “Madame Butterfly” were close to the bone.

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

In the nearby city of Winterthur, Zurich’s fine International Opera Studio (IOS) recently premiered two short operas by Maurice Ravel, a flashy L’Heure espagnole and a lyrical L’Enfant et les sortilèges.

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