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Musgrave's powerful depiction of a powerful woman at the mercy of male manipulation receives a strong staging from at ENO. 

ENO's revival features a striking performance from Mary Bevan as bride-to-be Susanna, but elements of the staging continue to raise eyebrows. 

Harry Fehr’s directorial debut for ENO transposes Donizetti’s tale into a World War 2 setting. Rhian Lois charms and commands as Adina.

Jonathan Miller’s game-changing mafioso setting of Rigoletto returns to the Coliseum, vividly conducted by Richard Farnes. 

Isabella Bywater directs an evocative new production of Britten’s ghost opera, well performed at the Coliseum. 

Miskimmon's relocation of the action to Ireland is unsparing in its evocation not of some tearjerking melodrama but of an almost documentary reportage on real events. 

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

A semi-staging of Bartók's tale of doors and brides at the Coliseum is saved from disaster when Jennifer Johnston steps in to sing Judith at very short notice, with the part gamely acted by Crispin Lord.

David Alden's production is a vivid telling of Janáček's devastating village drama. With a terrific cast and a splendid performance from the pit, this revival is an unalloyed artistic success.

English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

Miller's production, running since 1987, is starting to show its ago, but an excellent performance from Anna Devin keeps English National Opera's latest revival moving.

Margaret Atwood’s dystopic novel, masterfully adapted for the operatic stage, is strongly performed at ENO and rings even truer today than it did when it was written.

Peter Konwitschny's production of La traviata has its flaws, but in an age of protracted media there is much to be said for his taut production of Verdi's most famous tragedy. 

English National Opera opens its new season with a revival of David Alden's masterly production. 

House debutants, soprano Nicole Chevalier and conductor Lidiya Yankovskaya, excel in Isabella Bywater's Górecki staging to close English National Opera's season.

Blue could hardly have been better rendered than here. Indeed, I wish every opera I see could be staged with such grace and finesse. 

Annilese Miskimmon directs a the first ever production by ENO of Erich Korngold's tale of bereavement, grief and the poisonous impact of lost love on an obsessive mind. 

Philip Glass' operatic take on Ancient Egyptian history returns to the Coliseum in Phelim McDermott's hypnotic production, complete with jugglers...

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

Bieito’s vivid production of Bizet's most famous work is a classic; his attack on toxic masculinity is visceral, made more potent by an excellent leading pair of singers.

When done as well as this, a "concert staging" is not oxymoronic, but a precise term for a valuable mode of presentation.

English National Opera's It’s a Wonderful Life makes for a feel-good evening of theatre, but it requires a sweet tooth.

Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum. 

 Poul Ruders’ The Handmaid’s Tale comes home to English National Opera after 20 years in a powerful new production by Annilese Miskimmon.

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

Breastplates are back in vogue, but comedy horses and cheap production values undermine the first chapter in English National Opera's new Ring cycle. 

Phelim McDermott's popular staging of Satyagraha, which verges on the lush and the voluptuous, is revived to open English National Opera's season.

Natalya Romaniw, a diva to her fingertips, proves an ideal Floria Tosca in ENO's open-air performance at the South Facing Festival in Crystal Palace Bowl.

A witty, insightful production at the Coliseum fizzes with comedy and pathos. 

Anthony Minghella's classic production of Madam Butterfly makes a welcome return with a sensational role debut by Natalya Romaniw as Cio-Cio-San.

Verdi and Schiller lose out to Barbora Horáková in a new staging for English National Opera. 

Bieito’s Carmen is now a mainstay of ENO's repertoire, but with an excellent central cast led by Sean Panikkar and Justina Gringytė, the production feels entirely fresh. 

The co-existence of amateurs and professionals is weighted firmly towards the latter.

Mezzo-soprano Rachel Kelly and soprano Susanna Hurrell were the eponymous pair and, my, how they chewed the scenery.

Director Purni Morell sandpapers every trace of spikiness from Purcell's Dido and Aeneas, leaving the production a victim of its own good intentions. 

The American Dream hits Ally Pally in a vivacious performance of Britten's eclectic operetta, headlined by an ENO chorus who knock it out of the park.

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

Philip Glass' hypnotic opera returns in Phelim McDermott's outstanding production that respects the solemn, statuesque grandeur and epic ritual of the score. 

Jonathan Miller's production of La bohème is revived by ENO and features an important house debut. 

The music’s explosions of volume have an open-throated magnificence.

It’s the sprig of nightshade on a blood-red confection.

Porgy and Bess isn’t a perfect opera, but English National Opera's new production is a strong one. 

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

Not since Monty Python has there been more fun with a chorus of lumberjacks.

It's hard to find anything not to admire in a thrillingly strong production of Britten's haunting chamber opera. 

An intimate setting for the 18th-century work do from hell.

Fiona Shaw's production doesn't always get everything right, but Lucy Crowe's debut as the Countess is the defining success of the this revival.