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Annilese Miskimmon’s new production for English National Opera promises a “reimagining” but is a problematic disappointment. 

A semi-staging of Bartók's tale of doors and brides at the Coliseum is saved from disaster when Jennifer Johnston steps in to sing Judith at very short notice, with the part gamely acted by Crispin Lord.

Anthony Almeida and Rosanna Vize's deconstructed ghostly country house provides plenty of tension; fine vocal qualities are marred by poor intelligibility.

A brilliant modern revisioning by Genevieve Raghu, in a superb contemporary translation by Benjamin Hamilton, makes Don Giovanni feel more relevant than ever for the Tinder generation and their disposable approach to love. 

Garsington’s first collaboration with the Royal Shakespeare Company married an abridgement of Shakespeare’s play with Mendelssohn’s incidental music, a union which promised much but which stumbled awkwardly.