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The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

Three performances in five days take their toll in a tight schedule of this concert production run in the Cotswolds. 

ENB’s double-bill lurches, rather jarring, across centuries dividing a nineteenth century canonical romantic ballet from the streamlined expressionism of Kenneth MacMillan’s 1965 Song of the Earth. 

Giornata Opera picked Puccini’s often-neglected personal favourite of his Trittico, Suor Angelica, to perform at St Paul’s Church, Covent Garden. The second half is well worth the wait.

You have to sit in a small Fulham church, on a pretty uncomfortable chair, for at least four hours. And listen to a load of opera singers warbling about dwarves and gold and stuff. From certain perspectives, Fulham Opera’s production of Wagner’s Siegfried doesn’t sound like much fun at all.

For any opera company to mount a Wagner opera is a great undertaking. For a very small semi-professional opera company to mount the entire Ring cycle is a feat of extraordinary daring and perhaps madness. But that is exactly what Fulham Opera has decided to do.

Fulham Opera’s 2012 season is, once again, one dedicated to Puccini and Wagner. Last year, the company brought to stage Puccini’s Suor Angelica – the long-unpopular middle opera of his Il trittico – and the opening work of Wagner’s Ring cycle, Das Rheingold. This season, St.

It had lain in the archives of the British Library since around 1986. Now, rediscovered by a PhD student and transcribed by Stephen Anthony-Brown, Samuel Coleridge-Taylor’s opera Thelma has at last received its world première in the capable hands of Surrey Opera.It’s a small miracle that Thelma, written between 1907 and 1909, came to be performed at all.

If you think that Hansel and Gretel is a gentle, happy piece of Christmas cheer, the first act of Lewis Reynolds's pub production for Open Door Opera might give you pause for thought. The children may be naughty, but they're genuinely starving, and the mother may be overbearingly harsh, but she is genuinely at her wits' end.