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Some exceptional singing intermittently enlivens Daniel Slater's production which, dramatically and emotionally, takes time to ignite.   

Toby Spence, Matthew Rose and Andrew Watts shine in a fluent semi-staging at the Royal Festival Hall.

The Royal College of Music's first opera of the season, The Cunning Little Vixen has some excellent singing and first-class playing from the student orchestra.

Despite a condescending commentary, a strong performance from Anja Kampe as Leonore made this concert staging of Fidelio at the Royal Festival Hall thoroughly enjoyable.

Opera North's revival of L'elisir d'amour directed by Daniel Slater at the Grand Theatre, Leeds, still bubbles with life, in spite of its age.

In director Daniel Slater’s production at Santa Fe Opera this summer, Freud is God, and a biblical saga of lust, incest and murder is presented through a Viennese, turn-of-the-century lens. 

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

Smetana's The Bartered Bride by Opera North at Leeds Grand Theatre directed by Daniel Slater is a confident revival of an old success. 

A suitably rustic account of Janáček’s tale: seductive, engaging, and with a sense of intimacy ideal for this small venue.

Peter Grimes may deserve the place it has gained in the operatic canon, but it’s not a work without problems.

Those who feel that country house opera is in some way not the real thing, just an excuse to dress up and picnic on manicured lawns, should hie to Garsington’s new Die Entführung aus dem Serail with all speed.

Wagner’s Lohengrin was the last work the master completed before settling into a mid-career six-year slump. During this compositional hiatus, he wrote the poems for his Ring operas and ruminated in print on various topics, musical and otherwise, but work on the music dramas essentially ceased.

The Bartered Bride, premiered in 1866, is considered to be Smetana’s masterpiece in the operatic genre and is widely regarded as the national opera of the Czech Republic. Despite this, for their second and last production this year, New Zealand Opera elected to perform the opera in English translation rather than the original Czech, aiming to speak to their audiences in a more direct fashion.