A terrific cast, led by soprano Celine Byrne and conducted by Patrik Ringborg deliver a compelling and thrilling performance of Korngold's Die tote Stadt.
Ariadne auf Naxos shines in an ultra-contemporary world of high net worth tantrums at Longborough Festival Opera, complete with glam rock fairies, giant string, and glorious music.
In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.
Problems of orchestral balance cloud Olivia Fuchs's straightforward, compelling staging of Janáček’s tirade against the rigidity and hypocrisy of small town society.
Netia Jones' new production taps into Britten's silvery underworld in a staging dominated by video wizardry which is hypnotically beautiful, but comes at a price.
Philip Venables' 4.48 Psychosis is the first musical adaptation of the eponymous play by Sarah Kane, which is the culmination of a three-year programme run jointly by the Royal Opera and Guildhall School of Music and Drama.
Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.
Calixto Bieito updates the Carmen to the final years of Franco’s dictatorship and in Joan Anton Rechi’s revival, the results are often gritty and fierce, if unlikely to do anything for the Spanish tourist trade.
Two years ago, when this controversial production by Peter Konwitschny was first seen at English National Opera, I was completely knocked sideways by it. Could it deliver the same emotional blow to the solar plexus this time around?
Military service brutalises. If you’re in any doubt about this, Berg’s short opera Wozzeck should dispel them, and particularly so in Carrie Cracknell’s new production for ENO.
