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A dramatic staging of two Greek myths, Wayne McGregor’s Jocasta’s Line is an epic production for Norwegian National Opera and Ballet, a truly modern and totally original work.

The second programme of Norwegian National Ballet's Kylián festival, Day After Yesterday, features four older works, including Petite Mort and No More Play which are unquestionably highlights of his expansive repertoire.

Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Ralph Vaughan Williams' towering A Sea Symphony and the orchestra of the Norwegian National Opera and Ballet capped off the Oslo opera season in a singularly loud fashion. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

The first staging of Bellini's Norma in Oslo in over a century is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show.

The revival of Calixto Bieito's Carmen in Oslo proves a bumpy ride, with uneven singing and orchestral playing, saved by Katarina Bradić's captivating portrayal of the title heroine.

With his first foray into Rossini, Norwegian director Stefan Herheim turns La Cenerentola into a brilliantly funny spectacle, filled with thought provoking humour and outstanding singing.

Calixto Bieito's staging of Benjamin Britten's War Requiem is violent, shocking and uniquely powerful.

Looks can be deceiving in this beautifully sung revival of Thaddeus Strassberger's Oslo production of Mozart's The Marriage of Figaro.

Andreas Homoki's 2004 Turandot makes its way to Oslo, but fails to impress with less-than-halfbaked concepts and underwhelming singing.

Ole Andreas Tandberg's production of Lady Macbeth of Mtsensk gets a revival in Oslo, and proves even more chilling than the first time around.

Calixto Bieito's production of Carmen attempts to humanise the title character, but in doing so leaves the rest as caricatures.

Willy Decker's gloriously sung production of Janáček’s Káťa Kabanová in Oslo made for a uniquely powerful performance.

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

François de Carpentries’ Oslo production of The Barber of Seville is back for its fourth revival. The singing ranges from the uninteresting to the outright excellent, but the production can still provide a thoroughly entertaining evening at the opera.

What do you get when you mix an old man with a penchant for younger women, a young woman, her equally young lover and a scheming doctor, and set it all sometime around the 1960s, although you wouldn’t really know it had it not been for the petticoats? A rather successful night at the opera, it would seem.

The Norwegian Opera and Ballet seems to be developing a thing lately for staging Puccini operas as flashbacks and/or dreams. There is Stefan Herheim’s La bohème from last season, telling the story as part dream, part flashback from the viewpoint of Rodoldo.