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ENO's revival features a striking performance from Mary Bevan as bride-to-be Susanna, but elements of the staging continue to raise eyebrows. 

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

The opening Opera Australia's much-delayed Ring cycle contains wonderful visuals, and a standout performance from Warwick Fyfe as Alberich, but also moments of bafflement and excess.

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. 

In a face-off between Gabriele Viviani's Scarpia and Malin Byström’s Tosca in this solid revival of Jonathan Kent's 2006 production, there could only be one winner

Splendid performances by Yonghoon Lee and Karah Son breathe life into Harry Kupfer’s 20-year-old production.

A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way. 

Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

I arrived at the Royal Opera House in the usual way, settled into my seat, and – could you believe it – the opera was gone!

Johan Reuter leads an all star cast in a revelatory performance of George Enescu's masterpiece, aided by spectacular La Fura dels Baus staging.

A clumsily directed, poorly sung Tosca at the ROH made for a dispiriting evening. 

In the third concert presentation of Mussorgsky's Boris Godunov in London this season, the Philharmonia's semi-staged attempt, conducted by Jakub Hrůša, was admirable. 

From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention. 

Those closing bars of Alban Berg’s Wozzeck, tottering away into nothingness, is one of the great nexus points in musical history.

Ever since the Royal Opera House announced that two performances of its summer revival of Jonathan Kent's production of Tosca would feature an all-star cast, opera lovers all over the world have been desperately trying to get their hands on a golden ticket.