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Where better to start the LPO's exploration of 'British' music in its Isle of Noises festival than with Sir Edward Elgar? 

A fine cast convinces in Dutch Reisopera's new Tosca, staged in a dystopian police state.

From the stately front of The Grange, an impressive moustache looms large, welcoming the audience to a production of Rossini's masterpiece that baffles, confuses and delights the audience.

There are no answers, nor indeed many probing questions, in this Scottish Opera revival of Sir David McVicar’s production from 2008, but it is sumptuous and enjoyable.

A newly-orchestrated version of Jonathan Dove’s chamber opera drew some impressive performances from Heritage Opera in this pared-down adaption of Jane Austen’s third novel.

Garsington's latest Rossini buffa is on the nail orchestrally, mixed vocally and one of the best pieces of acting and stage movement you'll see in opera.

Jennifer France and Nicholas Lester are a compelling double act in Rossini’s sparkling comedy La scala di seta from Scottish Opera in Concert.

The away leg of Rossini's “Italian girl - Turkish guy” fixture makes for a thoroughly enjoyable evening at Garsington, without ever quite bursting into flame.

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. 

Justina Gringyte is a fabulous Carmen in Scottish Opera's dark take on this most tuneful of operas. Large choruses, including children with cigarettes, and a strong supporting cast make this an enjoyable show.

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. 

Vert-Vert, undoubtedly the only opera named after a dead parrot, is a very, very silly opera – more a series of comic sketches than an integrated work. But in Garsington's production, everything delights.

A great number of works from the bel canto era and before have not found their way into the current operatic repertoire, generally for good reason: many are flawed, dated or just not particularly distinguished. Garsington Opera have just proved to us that Rossini’s Maometto Secondo is not one of those.

The fourteen-year-old Benjamin Britten was already a prolific young composer, albeit without any formal training, when he heard Frank Bridge’s The Sea at the 1927 Norfolk and Norwich Triennial Festival. Hearing this performance and also meeting Bridge (who later became his composition teacher) were seminal events in the youngster’s life.

Jonathan Miller and ENO’s iconic interpretation of Gilbert and Sullivan’s The Mikado has returned to the London Coliseum this Christmas, to the delight of G&S fans across the capital, including myself.

The West End/Broadway musical is alive and well, raking in millions with its blend of light music, song and dance routines and not-too-taxing drama. But its spiritual ancestor, the operetta, is an unfashionable beast.