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The inaugural production of Oxford's new “international” company lacks direction, but Carmen Giannattasio’s Tosca makes the trip worthwhile. 

Olivia Fuchs solves the problems of Britten's thorny opera in a brilliant new production that hits the heights, featuring Mark Le Brocq as earthbound scholar, Gustav von Aschenbach.  

A strong cast led by Bekhzod Davronov and Gabriella Reyes plus an intense production helps Floris Visser unusual staging of La bohème stand out from the crowd.

Jeff Clarke's characteristically high-octane style seems made for the sarcastic, hyperactive existential madness that is Candide in this little gem of a production for Iford. 

Laughter is indeed the best medicine. As we try and make sense of the continuing political fallout post EU referendum, the CBSO offered the perfect prescription in the ample form of Verdi's Falstaff.

English National Opera's new Tristan is at its best when responding to Anish Kapoor's stunning stage sculptures.

David Alden’s muddled clichés failed to convince all the time, but Edward Gardner steered us through a thrilling musical account of Tchaikovsky’s terrific opera.

With ENO having been in the news for all the wrong reasons last week,  it needed Richard Jones' The Mastersingers of Nuremberg to be a great production. Lit up by a towering performance by Iain Paterson, it is.

“Beware, my Lord, of jealousy” warns Iago, planting the seed of doubt in Otello’s mind. Beware, too, the dangers of preconceptions. Keen anticipation of this new production of Verdi’s Otello was tempered by the prospect of David Alden as director.

Following acclaimed productions at Scottish Opera of The Marriage of Figaro and The Barber of Seville, recently revived, Thomas Allen returns to Glasgow to direct The Magic Flute.