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It’s a small miracle that the production has been recreated so well in such a short time frame.

WNO make a compelling case for Prokofiev's gargantuan War and Peace.

Stellar voices and orcheatra and some inspired staging choices elevate an otherwise heavy-handed production of Pelléas et Mélisande from the WNO at the Hong Kong Arts Festival.

Not a particularly revealing Falstaff, but a pleasing performance though. Maybe one would have expected something of greater impact from a festival like this one, but that goal had already accomplished by Graham Vick with his Stiffelio the night before...

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

Despite the beautiful sensitivity of La Nuova Musica, coupled with some truly sublime singing, the silliness of Cavalli’s opera is sometimes overplayed in this semi-staged production; less is, sometimes, more.

Sir John Eliot Gardiner conducts an evening where much pomp and circumstance does little justice to the multifarious aesthetics of a great composer.

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

Mélisande as Lulu in David Pountney's unfulfilling production of Debussy’s Pelléas et Mélisande at Welsh National Opera. 

Hansel and Gretel is often treated as a children's opera, suitable for family viewing at Christmas, but as Richard Jones' production demonstrates, it is a good deal darker than that.

A successful production for a scandalous opera which exercised a broad influence on the musical theatre of the 20th century.

A piece of music written by a dying composer, left unfinished and completed by a dedicated friend from the chaotic fragments left behind. This is not just the story of Mozart’s Requiem, so familiar to many from Peter Schaeffer’s colourful retelling in Amadeus, but also of Bartók’s Viola concerto, which was imaginatively paired with the more well-known Requiem by Northern Sinfonia this evening.

The message in Paul Curran's new production of Rimsky-Korsakov's The Tsar's Bride is a simple one: violent and powerful men are the same in every era. And, of course, no good can result from the violence. If the opera's title made you expect a happy and light-hearted occasion, think again: it's definitely not that sort of Royal Wedding.

Selbst in den technisch-räumlichen Gegebenheiten der Beethovenhalle erlebten die Zuhörer ein Festival- und Zyklusfinale wie man es sich nur wünschen kann.

Eine spannend-fließende Interpretation mit dem Gewandhausorchester und dem Monteverdi Choir unter Andrew Manze.