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

Olivia Fuchs gives a powerful staging of Janáček's morality tale of the perils of eternal youth, with an excellent cast, but there are reservations about the title role.

An outstanding performance from Rachel Nicholls lights up Carmen Jakobi's compelling production of Korngold's exploration of grief.

David Pountney completes his “Verdi trilogy” for the company but although his staging has fluidity, it lacks an explosive ending... and the vocal performances disappoint. 

Tim Albery's production for Opera North is well sung and superbly acted, involving us deeply in Janáček's tragic family drama.

An intimate setting for the 18th-century work do from hell.

Roddy Doyle's new translation is ingenious more often than incongruous; John Molloy's Leporello steals the show in the Opera Theatre's Don Giovanni.

Former RSC Artistic Director Michael Boyd imparts a distinctly Shakespearean flavour to Monteverdi's L'Orfeo in this first collaboration between the Royal Opera and the Roundhouse.

A riveting performance of Schoenberg's Moses und Aron, despite the absence of the golden calf, the burning bush, Sodom and Gomorrah. 

The culmination of the London Handel Festival is a much anticipated event, and tonight’s performance of Handel’s radiant composition L’Allegro, il Penseroso ed il Moderato was no exception. With an array of eminent musicians performing to a packed St George’s, Hanover Square, the mood was celebratory and the performance had a glow and energy that suited Handel’s mercurial music.

The final of this year’s Handel Singing Competition, which opened the 2012 London Handel Festival, was a rare occasion when the winner of the First Prize matched the winner of the Audience Prize, giving satisfaction all round.

Ian Page and the Classical Opera Company have made a specialty of performing early Mozart operas and at the weekend, they gave two performances of his two-act serenata, Il re pastore as part of the series “Mozart Unwrapped” at Kings Place.

L'adaptation opératique du film d'Ingmar Bergman ne se distingue certes pas par l'originalité de sa musique mais n'en demeure pas moins une réussite, dotée d'une grande profondeur psychologique.