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Michael Grandage’s production shows no signs of age, with fine central performances from Thomas Mole, Allan Clayton and Sam Carl, and fine playing from the London Philharmonic Orchestra.

Elisa Verzier, making her Glyndebourne debut, is astonishing as Violetta in a revival of Tom Cairns' 2014 production. 

Glyndebourne's new production of Lehár's greatest work is interpreted with his customary flair and fun by Cal McCrystal. 

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

How picturesque do you like your Puccini? Do you take your Turandot sweet or sour? How much lacquer is layered over your ideal Madama Butterfly?

A handful of times in operatic history, a composer has thrown away the rule book and produced a work which defies categorisation because it simply isn't like anything else in the repertoire. Kurt Weill's Die Dreigroschenoper is one such work: musically and dramatically, neither Weill himself or anyone else has ever written anything remotely similar.