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.
Grange Park Opera scored a direct hit with a fine production of Janáček's masterpiece, led by a superb performances from Natalya Romaniw and Susan Bullock as Jenůfa and the Kostelnička.
It's typical that in the last concert in a series that has lasted seventeen years, we had a recital from a talented young singer with a growing reputation, a Rosenblatt classic.
A tight production from Martin Lloyd-Evans together with a strong cast and loving treatment from conductor Matthew Kofi Waldren made a strong case for more regular performances of this neglected gem.
Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.
A voice with the proportions of a cathedral; a higher register that's entirely secure; an attention to text. Rosenblatt Recitals gave a tantalising preview of a singer who will have a stellar career.
In Wagner and Strauss, the beauty and power of Mattila's voice, still fresh and flexible, left the audience reeling in a recital that was a showcase for technique and artistry.
A disappointing extract from Smetana's Má vlast was redeemed by a refreshingly clear performance of Elgar's Cello Concerto and a characterful account of Holst's The Planets.
The Iceland Symphony Orchestra's tour to the acoustically excellent Göteborgs konserthus in Sweden for a concert of Sibelius, Strauss and Thorvaldsdóttir was an obvious success, demonstrating an orchestral sound that deserves to be heard abroad more often.
A sadly under-attended concert by Stéphane Denève and the Brussels Philharmonic saw fine technique and a clear appreciation of the final pieces of Rachmaninov and Prokofiev's careers.
Ivan Magrì's exemplary technique and strong delivery in his London recital debut left his audience hoping for a return visit to the Rosenblatt series in the imminent future.
Mozart's first stage work was written when he was just eleven years old; in this performance by Classical Opera, the composer's youthful writing and touches of humour are brought to life by a solid cast and lively conducting.
Ádám Fischer and the Orchestra of the Age of Enlightenment gave a thrilling account of Beethoven's Seventh, and there was much to admire in Steven Isserlis' intelligent reading of Hadyn's Cello Concerto no. 1.
For her London recital debut, Sondra Radvanovsky offered a varied programme of ranging from Bellini to Barber, showing off the technique with which she has dazzled American audiences.
Jumping in to cover for Valery Gergiev, Susanna Mälkki made a promising debut with the LSO, offering a commendable, if flawed, Also sprach Zarathustra.
Tara Erraught offered a programme that combined well-known arias with obscure German Lieder, showing off a voice strong in technique and colour that left the audience wanting more.
For the first of three concerts at the Cadogan Hall, the Vienna Tonkünstler Orchestra gave a heavy account of Beethoven's Piano Concerto no. 4, lightened by the graceful playing of Angela Hewitt, followed by a rich New World Symphony.
Clear playing from Pierre-Laurent Aimard in the Emperor Concerto and a sense of the dramatic in Also sprach Zarathustra brought life to old warhorses, while a new concerto from Tansy Davies made waves.
Continuing the 'German Romantic' series, Steffens and the Philharmonia gave an indulgent performance, culminating in a thrilling account of Brahms' Third.
