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Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Principal Conductor Bernard Labadie leads the Orchestra of St Luke’s in a superbly sung and played performance of Bach’s fiery and dramatic St John Passion. 

All the hallmarks of a Muti performance are on display as the maestro returns to conduct the Philharmonia Orchestra in a magnificent reading of Verdi's Requiem. 

Jonathan Miller’s game-changing mafioso setting of Rigoletto returns to the Coliseum, vividly conducted by Richard Farnes. 

Sir Mark Elder conducts his final opera performance as Musical Director of The Hallé, a rare chance to hear the original version of Verdi's middle period opera. 

La Scala presents a new production of Benjamin Britten’s masterpiece, with an excellent cast led by tenor Brandon Jovanovich.

A strong cast led by Bekhzod Davronov and Gabriella Reyes plus an intense production helps Floris Visser unusual staging of La bohème stand out from the crowd.

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

Under the direction of Sir John Eliot Gardiner, Zurich’s fine Tonhalle Orchestra, The Monteverdi Choir and soloists launch a sonorous holiday season with Hector Berlioz’s sacred oratorio L’Enfance du Christ.

Phelim McDermott's popular staging of Satyagraha, which verges on the lush and the voluptuous, is revived to open English National Opera's season.

Natalya Romaniw, a diva to her fingertips, proves an ideal Floria Tosca in ENO's open-air performance at the South Facing Festival in Crystal Palace Bowl.

Britten's four lovers were costumed in quasi-contemporary, even glamorous manner, stripping to their underwear for the end of Act 2... so more Love Island than Ancient Athens.

A compelling rendition of Dvořák’s infrequently heard Requiem. Conductor Ringborg brought the work to life inspiring both the RTE NSO and the chorus. They were joined by a strong quartet of solo voices.

Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.

Dominic Wheeler did full justice to Britten’s brilliantly colourful and haunting score right from those first eerie glissandi.

British Youth Opera revives a forgotten operatic entertainment from the 1960s with flair and professionalism.