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Michael Grandage’s production shows no signs of age, with fine central performances from Thomas Mole, Allan Clayton and Sam Carl, and fine playing from the London Philharmonic Orchestra.

One element of the Orpheus myth is about creativity, so at Glyndebourne, William Kentridge sets Monteverdi’s opera in an artist's studio, 

Mariame Clément’s production of Rossini's meta comedy is tightly revived with some excellent singing. Come for the writing tips, stay for the cured meats.

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

Mark-Anthony Turnage and Rachael Hewer update Edith Nesbit’s children's novel as a spy action thriller, with an exciting score and a strong cast of singers.

Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates. 

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

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

Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

Bombastic Beethoven from Hickox and the Glyndebourne Sinfonia is followed by a memorable and powerful performance of Tippett's A Child of Our Time.

Elisa Verzier, making her Glyndebourne debut, is astonishing as Violetta in a revival of Tom Cairns' 2014 production. 

A revival of Mariame Clément's production of Rossini's less-loved comic gem provides the sense of Italian sun to warm the body and belly laughs to warm the soul.

Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

Louise Alder shines as Cleopatra, one of Baroque opera’s greatest creations, in the fourth Glyndebourne revival of Sir David McVicar's much-loved production. 

Glyndebourne's new production of Lehár's greatest work is interpreted with his customary flair and fun by Cal McCrystal. 

A visually delightful revival of Barbe & Doucet's action-packed Zauberflöte at Glyndebourne, with strong vocal performances throughout. 

Diane Paulus' staging is remarkably true to the original while making it feel like the work was written yesterday.

Strong musical performances in a flawed and confused production revived for the autumn season at Glyndebourne. 

Strong solo and ensemble singing from a solid cast – with a last minute addition for Act 2 – make for a joyful revival of this much-loved production. 

It's been in the Glyndebourne rep for almost fifty years, but John Cox's production, complete with Hockney's iconic set, remains timeless. Robin Ticciati's superb conducting and an excellent cast made this latest revival a complete success.

Adele Thomas makes a good case for Semele's operatic credentials in her production which makes effective nods towards Baroque opera’s devotion to spectacle.

Brought to life by some sensational singing from a strong cast, Kosky's staging delivers repeated emotional punches. 

Strong singing and a punchy orchestral performance makes this latest revival of Donizetti's cheering village rom-com a hit.

Mariame Clément wants her cake and eats it in a thought-provoking production that explores Mozart’s opera through Leporello’s perspective.

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.

With Laurent Pelly directing, a very French evening sees a veritable feat of singing from Stéphanie d'Oustrac in La Voix humaine, followed by riotous surrealism in Les Mamelles de Tirésias.

An ideal young cast and a thoughtful production bring fresh perspectives to Puccini's tragedy.

Michael Grandage's vivid production of Mozart's comic masterpiece is fast becoming a classic and is revived here to a very high standard.

Smyth's rarely performed tale of evil deeds on the Cornish coast provides searing drama marred by poor intelligibility and an overpowering orchestra.

A memorable performance makes a worthy memorial to the late, great Bernard Haitink, who conducted the production's premiere. 

A vast panopticon cages strong musical performances in Wake-Walker's Fidelio at Glyndebourne, with Dorothea Herbert and Adam Smith standing out vocally and emotionally as Leonore and Florestan.

Not quite as innocent an account of opera buffa as others, but for quality of musicianship, Glyndebourne Tour's revival of Mariame Clément’s production of Donizetti's comedy hits all the right notes.

For social distancing reasons, the Festival dispensed with a full staging of Wagner's epic love story, allowing singers and orchestra to share the stage in an able compromise.

Christof Loy would seem to be the perfect director for Covid-era opera, his stripped back production of Verdi's rare middle period opera directed remotely from Austria.

Lush visuals and appealing singing do not quite make up for a somewhat lacklustre revival of Nicholas Hytner's acclaimed 2006 production of Mozart's late comedy.

Mariame Clément's hilarious and brilliantly original staging of Rossini's opera buffa is served with a generous helping of Rossinian bel canto. Who could ask for more?

Glyndebourne's 2021 season opens with an intense, minimalist staging of Janáček’s tale of adultery, focused on the contrasts between its heroine's dreams and reality.

The tears of a clown behind the public mask? Glyndebourne's first ever production of Rigoletto takes the audience to Hollywood in the silent film era. 

Annabel Arden's superb production of Donizetti's classic makes a welcome return for the Glyndebourne Tour in a taut revival led by two excellent principals.

Robert Carsen's riotous production of Rinaldo returns to the Sussex Downs, a schoolboy fantasy colliding crusading knights with St Trinian's bad girls. 

André Barbe and Renaud Doucet's Magic Flute is ideal entertainment for a fizz-filled summer night.

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

Cast changes and a revival director who sharpens up the action make all the difference to this revival of Rossini's *Barber of Seville* in Glyndebourne's opening weekend. 

Christopher Purves bosses the show as Méphistophélès; Richard Jones' production is intelligent and carefully thought through but ultimately unconvincing.

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

An emotionally intense Violetta from Mané Galoyan in Tom Cairns' darkly challenging La traviata launches Glyndebourne Tour's 50th season