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English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

Bieito’s vivid production of Bizet's most famous work is a classic; his attack on toxic masculinity is visceral, made more potent by an excellent leading pair of singers.

A vast panopticon cages strong musical performances in Wake-Walker's Fidelio at Glyndebourne, with Dorothea Herbert and Adam Smith standing out vocally and emotionally as Leonore and Florestan.

Christof Loy would seem to be the perfect director for Covid-era opera, his stripped back production of Verdi's rare middle period opera directed remotely from Austria.

Brecht and Weill's tirade against Big Money is exceptionally well acted throughout; vocal and musical performances are more mixed.

“Folies Bergère does Greek gods” is how director Martin Duncan describes Offenbach's Orphée aux enfers, and his production for Royal Academy Opera is enormous fun.