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A standout performance by Alison Langer as Gilda lights up an Opera Holland Park season opener marred by illness. 

It’s a risky business to describe comic nuance or timing, so please take my word that these qualities were as pitch-perfect as the vocal prowess on display.

Composer-librettist Adamo does full justice to Louisa May Alcott's 19th-century bestseller, one of the most widely read works in American literature.

Puccini's Giselle-inspired opera is given a superb staging by Martin Lloyd-Evans to deliver Opera Holland Park's banger of the season. 

Quality singing in Cecilia Stinton's new staging comes from touchingly ardent soprano Alison Langer, as Micaëla.

Julia Burbach's new production lacks poetry in spite of an admirable cast led by Samuel Dale Johnson in the title role. 

John Savournin directs Opera Holland Park's end-of-term G&S romp.

Bumble? Tinder? Who needs a dating app when you have Rabbi David setting up every singleton in sight. Opera Holland Park's new production of L'amico Fritz is a feel good rom-com that will warm the heart.

Jennifer France stars in Stephen Barlow's staging of The Cunning Little Vixen, set in the perfect surroundings of Holland Park. 

Amid all the18th-century flummery, contemporary touches abound as the OHP's post-pandemic season opens. 

A good, honest staging and solid singing add up to an excellent new production – its third – at Opera Holland Park. 

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

Gaitanou’s direction of the singers is so exact that it becomes impossible to separate them from their characters.

Opera Holland Park updates Puccini's setting to the 1960s in a production that does not completely work, but benefits from the strong performance of Elizabeth Llewellyn as its leading lady.

An embarrassingly trite libretto proves unsalvageable, even with a committed cast of singers.

As the two sisters, Eleanor Dennis and Kitty Whately ideally complemented and blended with each other.  

Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.

Mozart's Don Giovanni is transported by director Oliver Platt to The Queen Mary in the 1930s. It looks handsome enough, but the concept is flawed.

A tight production from Martin Lloyd-Evans together with a strong cast and loving treatment from conductor Matthew Kofi Waldren made a strong case for more regular performances of this neglected gem.

Martin Lloyd-Evan's highly sensitive production features a show-stealing performance by Richard Burkhard but is marred by problems of orchestral balance.

An excellent orchestral performance and fine singing from Yvonne Howard and Heather Shipp make Opera Holland Park's Norma well worth seeing, in spite of imperfections.

Unlike its première, disaster is averted in Opera Holland Park's Il barbiere di Siviglia, where a solidly traditional production is lit up by some splendid vocal performances. 

Stephen Barlow’s staging of Puccini's Western is easy on the eye, if short on verismo. Susannah Glanville impresses as the barkeeper with a heart of gold.

Ermanno Wolf-Ferrari is a bit of a strange fish: a recluse, a self-described mystic, and proud enough of his hybrid German-Italian identity that he appended his mother’s maiden name to his own at the age of nineteen.

Whatever Puccini’s Madama Butterfly has going for it, it isn’t suspense – everything that’s going to happen is spelled out the first few pages of the score, as Pinkerton chuckles that the marriage contracts in Japan are as flexible as the property leases, renegotiable on a monthly basis, and toasts the day he gets married “for real” to an American bride.

With Verdi's centenary coming up, his last opera Falstaff has had more attention than usual, with this production at Opera Holland Park following hot on the heels of Robert Carsen's new production at Covent Garden.

Howling, gusting wind. Damp, bitter cold. Dark, gathering twilight. Exactly the right atmosphere, you must agree, for Donizetti's Lucia di Lammermoor, based on Sir Walter Scott's romantic historical novel of dark deeds in the grim castles of the Scottish clans, which opened Opera Holland Park's new season.