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Paula Sides as Donna Anna has an appealing sound throughout her range, a hint of spinto power, and gave the vocal performance of the night.

Any occasion to see Donizetti's first big success is to be welcomed. The Longborough Festival's new production of Anna Bolena gives us a Tudor court in terror of a brutish, Henry VIII as he seeks to supplant Anne Boleyn with Jane Seymour.

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. 

Daisy Evans' take on Verdi's iconic tale of love stymied by the cruelty of others is characteristically innovative and insightful, while also blessed with a remarkable central performance from Anna Patalong. 

With a glinting voice of a youthful sheen, like bracing Nordic air, Kirstin Sharpin was entirely convincing as the obsessed dreamer, Senta.

Gluck sought simplicity; Longborough Festival Opera delivers simplicity with a most enjoyable and engaging production of Orfeo

A fresh, yet traditional Magic Flute at Longborough uses puppetry to bring an atmosphere of fairytale onto the stage, with fine singing from a strong cast. 

Strong casting but intrusive direction makes this Fidelio a bizarrely intriguing experience, salvaged by some memorable singing. 

A passionate revival of Longborough's 2015 production with outstanding performances from the principals.  

Jenůfa unfurls with chilling intensity at Longborough with the talented Lee Bisset in the title role. 

An even cast and a simple production makes Longborough Festival Opera's latest foray into aristocratic misdeeds a success.

Longborough Festival Opera’s new production of Wagner’s Tannhäuser is impressive vocally but particularly distinguished by Anthony Negus’s intelligent and vital conducting.

Producing one of the most well-known and popular operas in a fresh way on a limited budget is a challenge for anyone. Longborough Festival Opera show how it can be done. 

Longborough Festival Opera have opted for Donizetti for the first time, with Don Pasquale.  How successful would the cast be at unleashing the ‘feel-good factor’ of opera buffa?