Find classical music concert, opera, ballet and dance reviews | Gyula Nagy

This third revival of Richard Jones' production is thoroughly competent but struggles to rise above the routine.

Fine singing all round, sensitive continuo musicianship and dramatic action make for a thoroughly enjoyable Return of Ulysses by Monteverdi.

David Alden’s new production for The Royal Opera, referencing fascist Germany, is drab, but there are musical compensations. 

Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.

Paring the action down to just four singers, La Tragédie de Carmen is the perfect vehicle and venue for a handful of the Royal Opera's Jette Parker Young Artists to strut their stuff.

After his affectionate treatment of La fanciulla del West for ENO and his devastating Suor Angelica for the Royal Opera, Richard Jones’ new La bohème is disappointingly bland.

Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.

Ermonela Jaho sure likes to put herself (and us) through the emotional wringer on Covent Garden's stage. This time, London finally got to see her as another tragic Puccini heroine: Madama Butterfly.

Holten's masonic lodge setting of Meistersinger gets a lot right but is occasionally uneven; Terfel and Hughes Jones are constantly good to listen to.

An incredible musical performance - by pianists and singers - that is not well enough matched by the visual experience of cluttered creativity in which excellent dancers are often anonymous 

For the latest revival of Moshe Leiser and Patrice Caurier's candy-striped production, the Royal Opera serves up the operatic equivalent of stodgy semolina.

Welsh National Opera may have reached the ripe old age of seventy but it's very much alive and kicking.