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Conductor Speranza Scappucci led a vibrant programme of orchestral and vocal works, blending Spanish flair and humor in this enjoyable performance.

With gloriously inventive sets and costumes, Alex Esposito’s splendid Four Villains drive a wonderfully entertaining new production.

Berlioz' oratorio provides a welcome alternative to the usual Christmastime Messiah at the Maison symphonique. 

Lush visuals and appealing singing do not quite make up for a somewhat lacklustre revival of Nicholas Hytner's acclaimed 2006 production of Mozart's late comedy.

Ludovic Morlot conducts Berlioz’s Roméo et Juliette with The Hallé.

Christopher Purves bosses the show as Méphistophélès; Richard Jones' production is intelligent and carefully thought through but ultimately unconvincing.

An outstanding cast under Ottavio Dantone at the Theater an der Wien was headed by Lawrence Zazzo and Emőke Baráth.

If I wrote that I loved Philippe Boesmans' Pinocchio, my nose may grow a little. The 81-year old composer in collaboration with Joël Pommerat, shifts the tale far away from any cutesy Disney fantasy, returning it to the harsh reality of Carlo Collodi's original fable.

Prom 20 proved an exhilarating journey, featuring Berlioz’s Roméo et Juliette as one of the key works of this year’s BBC Proms' Shakespeare 400 celebrations.

Poor intelligibility and lack of pace in the music or acting make L'Étoile into a disappointingly flat evening.

L’étoile at the Dutch National Opera, directed by Laurent Pelly and conducted by Patrick Fournillier, is bubbly and light like a glass of sparkling wine, to be consumed without restraint. 

Alan Held and Martina Janková star in a technologically and musically stunning production of Leoš Janáček's fable of nature and time.

Yannick Nézet-Séguin, the chorus and several soloists star in a dramatic version of Bach's St Matthew Passion in which l'Orchestre Métropolitain was less distinguished. 

Opera Boston, whose mantra is “Only innovative repertory. Only original productions” has created a new production of Berlioz' Béatrice et Bénédict for Boston. Seductively charming, the production's depth and complexity become apparent with time and acquaintance – just like any worthwhile relationship.This little-seen opera is sung in French, with spoken dialogue.

Read our review of Stephen Wadsworth’s production of Iphigénie en Tauride by Gluck, in its 2011 broadcast from the Met Opera in New York.