Live, On demand, Streamed event: Find classical music concert, opera, ballet and dance reviews | Sara Fulgoni

Musically, WNO gets it right. Straightforward brilliance is the order of the day, and plenty of it.

Welsh National Opera’s new season commemorating the centenary of the 1917 Revolution with three Russian-themed works opens with both a bang and a whimper with this trenchant revival.

Trophy room glass display cases and glassy-eyed stuffed animals are the setting for a distinctive take on Wagner's epic music drama. 

Grange Park’s Samson et Dalila doesn’t hit the bull’s eye, but it’s well worth the visit for a decent all-round staging of an unfamiliar work, an excellent rendering of its sumptuous score and for a thrilling piece of singing by Carl Tanner.

Sometimes catching a performance with its second cast can be as revealing as attending a first night, and that was the case with this production of Rigoletto by the Canadian director Robert Carsen at La Monnaie in Brussels.

When you think chic, black-tie country house opera, you probably don’t also think sixteen barefoot nuns being executed. Grange Park Opera’s fusion of these two contrasting ideas, however, has a lot going for it: their production of Francis Poulenc’s Dialogues des Carmélites combines its minimal but effective staging with some impressive singing.

If your favourite part of opera is a soaring melody which stays in your head long after the opera is over, they don’t come much better than Un bel dì in Puccini’s Madama Butterfly, in which our enraptured heroine sings of the day that her husband’s ship will reappear on the horizon. At Grange Park last night, Claire Rutter did it full justice.

History has cast a complex light on Wagner’s music and on Wagner the man. But Tristan & Isolde (Wagner’s enormous vision of erotic love) is an opera that can still resonate today. Nietzsche referred to its “dangerous fascinations”, “spine-tingling and blissful infinity“ and “voluptuousness”. This was Grange Park Opera’s first foray into Wagnerian opera.

Back in the 1950s and 60s, Vincenzo Bellini's Norma was one of the standards of the repertoire, putting in regular appearances at the world's top opera houses. It was a staple role for Maria Callas, who performed the opera 89 times.

La OCNE dirigida brillantemente por Nagano y con Sean Panikkar encabezando un sólido reparto vuelven a traer a Madrid The Bassarids la obra maestra de Henze veinte años después.