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Bruno Ravella's splendid 2021 production of Strauss' opera of Viennese manners returns with a fine cast. 

Music Director Douglas Boyd conducts a performance of exceptional musical quality, and Louisa Muller's uncontroversial but passionate direction makes this Traviata one for the ages.

Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.

Jack Furness directs a terrific new Queen of Spades at Garsington – haunting and harrowing. 

Simon Higlett’s exquisite sets and costumes give a backdrop to Donizetti’s frothiest of rom-coms.

Christopher Alden, Chris Hopkins and an excellent cast send us a comic roller coaster ride with Verdi’s ultra-rarely performed second opera.

In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 

A superb orchestral performance from Paul Agnew and The English Concert lights up a breezy and fun staging of Rameau's ballet bouffon.

Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

Come for the shave, stay for the comedy. Christopher Luscombe's new production of Rossini's beloved opera buffa avoids overcomplicating the plot, letting the work's humour and the abilities of the principals shine. 

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

Laurence Cummings and The English Concert deliver musical excellence in a wonderfully designed and choreographed production.

Garsington Opera's new production of Rossini's comic masterpiece is a bawdy hoot, but humour aside it features an ensemble who provide first-class bel canto singing.

Outstanding singing from a beautifully chosen cast led by Miah Persson and Hanna Hipp. 

The Philharmonia and Garsington Chorus deliver great performances, as do Natalia Tanasii and Fleur Barron as the two Larina sisters.

Peter Mumford's intelligent staging concept and a knockout performance by a reduced Philharmonia Orchestra made this a night to remember.

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

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.  

A twist on the usual Enlightenment path, this is an admirable production, excellently executed.

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky.