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Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong. 

Annilese Miskimmon directs a the first ever production by ENO of Erich Korngold's tale of bereavement, grief and the poisonous impact of lost love on an obsessive mind. 

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.

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

Juan Diego Flórez stars as Goethe’s archetypal Romantic poet in Massenet's Werther in Zurich. 

Tatyana Gürbaca's new production of La traviata in Oslo may be on the heavy-handed side, but still offers fascinating new insights into Verdi's opera.

Late in the opera, in the calm that settles after a vaudeville of ballet dancers and Italian singers, Fleming’s poise pervades the Countess’s closing rumination over love and the nature of art. It’s a concert piece nestled in Capriccio’s narrative bustle, and to hear Fleming sing it is to be reminded of her talents as a communicator in music within and beyond the opera stage.

Every opera poses an acting challenge to its prima donna, but Massenet’s Manon, whose 2010 production by Laurent Pelly started its first revival at Covent Garden last night, is particularly harsh on the singer of its title role. Ermonela Jaho rose to the task magnificently.

Every year, Glyndebourne brings an opera from their festival to the BBC Proms and adapts it to the Royal Albert Hall stage. This year they brought their hottest production of the summer, The Marriage of Figaro (directed at Glyndebourne by Michael Grandage and adapted for the Proms by Ian Rutherford), and it was wonderful to see the Albert Hall packed to rafters.

Young man spurns the love of a good woman. Time passes. Man realises the error of his ways, but it is too late. It's not exactly the most taxing of plot lines, but in Eugene Onegin, Alexander Pushkin turned it into a masterpiece.

Boy falls in love with girl. Girl marries another man. Boy kills himself. The plot of Massenet's Werther isn't exactly complex or taxing, but then, in all great stories, it's the way you tell them that counts.The story certainly worked for its author. When it was published in 1774, The Sorrows of Young Werther propelled the young Goethe to fame and caused a literary sensation.

Ein modernes Opernsujet, welches zeitnah die politische Wirklichkeit einfängt. Doch leider scheitert die Inszenierung vor allem an praktischen Problemen der Ausführung.

Leider können auch die schönste Musik, ein bestens disponiertes Orchester und ein wunderbares Sängerensemble den Gesamteindruck des Abends nicht retten.

Die Dreiecksbeziehung mit tragischem Ausgang wurde von einem vollblütigen Sängerensemble und dem außergewöhnlich engagiert spielenden Mahler Chamber Orchestra getragen.

Nouvelle production du rare opéra de Berlioz, Benvenuto Cellini, à l'Opéra Bastille. Mise en scène spectaculaire de Terry Gilliam.

Musik und Szene kommen in Christof Loys Deutung von Alban Bergs Wozzeck in Frankfurt zu einer perfekten Übereinstimmung, wodurch die Aufführung große emotionale Ausstrahlung gewinnt.