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Director Adele Thomas can do no wrong, sustaining her extraordinary run of fizz with this unlikely concatenation of four Handel cantatas at Stone Nest.

Director Francesco Micheli undersells Handel in this Glyndebourne debut, but there's plenty of froth to keep the audience entertained. 

Ullmann's one act opera, written in the concentration camp at Terezin, receives a powerful performance from the BBC Symphony Orchestra.

A deep-dive into the world of 14th-century Persian poet, Hafez, and his influence on song across the centuries. 

Attractive music and delicious comedy abound in Scottish Opera's short film of Gian Carlo Menotti's 1947 comic opera, made for Edinburgh International Festival.

A solid Figaro in Cardiff, in which individual performances are a joy, and humour abounds. 

Using the misogyny and violence of Rigoletto to hold up a mirror to contemporary corruption, Lindy Hume's production overcomes its inconsistencies with a vivid blend of theatrical and musical values. 

Darkness sits alongside comedy in a new production of Humperdinck's delicious children's opera.

Bruno Ravella's fast-paced Falstaff for Garsington still has crucial space for pathos amid the comedy, with a notably subtle central performance from Henry Waddington.  

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.

Conway's decision to render Handel's epic in its entirety was let down by a static staging and unnecessary repeats that masked the hidden gem-like arias.

Music Director Ludovic Morlot, known for his intriguing programming, outdid himself with a summery breeze of a program that enchanted from beginning to end.

Mozart's “pasticcio concertos”, composed at the remarkable age of 11, may lack integral vibrancy and brilliance, but are brought to life by an exuberant Bezuidenhout

There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice. 

Two parts of Puccini's triptych are directed by Michael Barker-Craven - Il tabarro and Suor Angelica - in brilliantly successful productions at Leeds Grand Theatre.

Newlyn's updating of the opera to the Second World War was effective, while a superb Despina from Soraya Mafi gave the performance real fizz.

In Janáček's searing excoriation of small town social mores, superb orchestra, singing and acting make this revival of David Alden's Jenůfa into an unmissable evening of opera.

The London Mozart Players and a talented company of singers presented a special chance to hear a rare, unfinished Mozart opera in an even rarer guise. 

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

Sondheim's Sweeney Todd seen and heard as it is: one of the greatest late-20th-century operas. 

As director of the film Topsy-Turvy, Mike Leigh seemed like a natural choice to turn his hand to The Pirates of Penzance at English National Opera. Sadly, this proved not to be the case. 

Bringing Peter Grimes to Grange Park a year after the Britten centenary is an enormous challenge. With ‘Grimes on the Beach’ still fresh in the memory, the task of recreating the Suffolk coast in Hampshire’s idyllic countryside might have seemed a step too far. 

Despite a disappointingly static production, the cast shine in the Royal College of Music's producion of Handel's rarity Arianna in Creta.

When you think chic, black-tie country house opera, you probably don’t also think sixteen barefoot nuns being executed. Grange Park Opera’s fusion of these two contrasting ideas, however, has a lot going for it: their production of Francis Poulenc’s Dialogues des Carmélites combines its minimal but effective staging with some impressive singing.

The Gilbert and Sullivan canon perhaps achieves the pinnacle of its greatness with The Mikado. The ninth of their fourteen collaborations, it was premièred at the Savoy Theatre in 1885 and the gentlemen were rewarded with an extraordinary success.

Christophe Rousset und Les Talens Lyriques zeigen, dass etwas Verschollenes modern, ergreifend und aufregend sein kann.

Christophe Rousset et Les Talens Lyriques exhument La divisione del mondo, opéra de Legrenzi donné pour la première fois en France 350 ans après sa création. Une découverte qui offre des moments exquis, portés par la mise en scène de Jetske Mijnssen.

C’est une mise en scène dont on se souviendra longtemps : Il re pastore, opéra composé par Mozart alors âgé de 19 ans, fait dès les premiers instants référence aux dessins animés des années 1980, à Star Wars et aux mangas japonais.