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Fauré was the finest of French songwriters. Stéphane Degout and Véronique Gens shine in a full-length evening in a packed Wigmore Hall. 

One of the Lammermuir Festival's miniature miracles: Véronique Gens and Joseph Middleton present an evening of French chansons in the East Lothian countryside. 

In their role debuts, Tassis Christoyannis and Véronique Gens make for an incredible pair in this concert performance of Massenet's opera.

Excellent performances and stage direction make a good case for an opera that's on the slow side dramatically.

Sir Antonio Pappano and the Orchestra dell’Accademia Nazionale di Santa Cecilia give fine performances of works by Rossini, Ravel and Rimsky-Korsakov. 

Cavalli's debut at La Scala is a triumph, earning applause that not even a Bohème or a Traviata can sometimes elicit. 

Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

Here was singing and playing to live long in the memory.

A delightful performance of Rameau's opera opens the Müpa's Early Music Festival.

Richard Wagner, reviewing La Reine de Chypre for the Dresden Abend-Zeitung, praised Halévy's opera as “decidedly the best that has appeared on the Opéra's boards since Meyerbeer's Les Huguenots”. It's impossible not to agree. 

A compelling staging of Gluck's 1779 opera in Paris. 

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.

The Merry Wives of Windsor – relocated to Scotland – sing beautifully, as does their wooer, Falstaff. But it's not clear why they're in Scotland in the first place, or how the rest of the staging fits the opera.

In this minimalist period production of Figaro, the singing and acting are the centre of attention. A very talented cast carries the show, delivering beautiful singing and engaging comedy.

Alceste is the short and sombre story of a wife who gives her life to save that of her husband, King Admète of Thessaly, a deed which ultimately convinces the gods to reprieve both of them. Gluck, hoping to avoid the over-decorated vocal style then in vogue, set this plot to unadorned vocal lines to give depth to the underlying emotions.

In 2008, conductor Thomas Hengelbrock rediscovered Niobe, Regina di Tebe, written in 1687 by the Venetian-born, German-based composer Agostino Steffani. Although now little remembered, Steffani was a world-famous composer in his day and a man of many talents who became a diplomat and bishop as well as being a musician.