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The City of Birmingham Symphony Orchestra and University of Birmingham Singers revel in the ecstasy, majesty and glory of Stanford’s Requiem. 

Smyth's rarely performed tale of evil deeds on the Cornish coast provides searing drama marred by poor intelligibility and an overpowering orchestra.

More of a distraction than an enhancement, Ulrich Rasche’s giant steel machine grinds down the performers of this dark Elektra, which ultimately stumbles over its own feet.

André Barbe and Renaud Doucet's Magic Flute is ideal entertainment for a fizz-filled summer night.

A devilishly fun performance of Gounod's take on Goethe, saved when Mandy Fredrich flew in at short notice to take over the role of Marguerite. 

The Linbury re-opens its doors to opera with a new work whose libretto is superbly crafted by Francesca Simon, featuring a tour de force performance by Marta Fontanals-Simmons as the Norse goddess Hel.

A twist on the usual Enlightenment path, this is an admirable production, excellently executed.

Weill's neglected "American Opera" opens in Madrid with a refurbished production by John Fulljames and a strong cast led by Patricia Racette.

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

How picturesque do you like your Puccini? Do you take your Turandot sweet or sour? How much lacquer is layered over your ideal Madama Butterfly?

The 2016 Proms come to a riotous close at the Royal Albert Hall.

Melly Still returns to revive her 2012 staging at Glyndebourne, laying nature bare. Cartoonish, but never sentimental, it presents Vixen red in tooth and claw, 

There’s something decidedly odd about pitching up at Glyndebourne sans picnic hamper, wrapped up in heavy layers, the aroma of mulled wine wafting through the foyer... 

Positioned at the heart of St Paul’s Cathedral, Rutter took to the stage to perform a sold out concert dedicated to his life as a composer. 

The future of opera is in good hands, if Tuesday night’s opening of Jonathan Dove's The Adventures of Pinocchio at the Guildhall School of Music and Drama is any indication. 

Musikalisch überzeugend, aber aufgrund der fehlenden Regie bleiben viele Absurditäten und der abgründige Schabernack auf der Strecke.

L'ouvrage lyrique méconnu de Kurt Weill bénéficie d'une distribution américaine inspirée, d'une mise en scène agréablement surprenante et d'un excellent Orchestre Philharmonique de Monte-Carlo.

Vendredi 20 Janvier 2017, la finale du concours Paris Opera Competition récompensait de jeunes chanteurs lyriques se produisant devant un jury de professionnels, lors d'un concert-concours public au Théâtre des Champs-Elysées. Verdict.