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Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

Riddle me this: what is the result of combining Andrei Serban's beloved staging of Turandot with Antonio Pappano's first stage outing of the piece? Answer: a thrilling evening.

Juan Diego Flórez was impressive in his first portrayal of a lovesick soldier/priest in Manon, with Nino Machaidze's accomplished heroine. Andrei Serban's modern and thoughtful production was still fresh and arresting.

An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.

Patricia Petibon manages to portray an absolutely charming Manon. She spans the space between innocence and worldliness and remains consistently energetic and delightful. 

In 1984, I went to Covent Garden to see Andrei Serban's production of Turandot and was bewitched. Thirty years, fifteen revivals and a wealth of opera-going later, I was bewitched all over again by Nicola Luisotti's rendering of the score.

Goethe’s epistolary novel Die Leiden des jungen Werthers (“The Sorrows of Young Werther”) hit the 1774 zeitgeist not only because it brought back emotion to the rather sober Age of Enlightenment, but because the tragic title hero sports a multi-faceted character that lends itself to various interpretations and projections, therefore making it easy to feel sympathy or even partly identify with the

Otello, Verdi’s penultimate opera, is a tightly-wound setting of Shakespeare’s familiar tragedy. From the opening storm to the title character dying upon a kiss, it is more fragmentary and emotionally cool than his earlier work, an opera that tends to be more admired than loved.