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Giacomo Sagripanti’s live wire dynamics and keenly judged tempo choices keep this revival of Verdi's Il trovatore buoyant at Covent Garden. 

Adele Thomas makes a good case for Semele's operatic credentials in her production which makes effective nods towards Baroque opera’s devotion to spectacle.

Adele Thomas’ Royal Opera staging channels the Marx Brothers in playing it for laughs, but the musical compensations are many under Sir Antonio Pappano.

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

In its Royal Opera House debut, Irish National Opera's high-energy Bajazet provides a great evening for Baroque fans and sceptics alike.

Gianandrea Noseda takes his post as general music director at the Opernhaus Zurich leading a great cast in Adele Thomas' successful new production. 

Christine Rice gives an astonishingly performance in an evening of four powerful chamber pieces.

Visual eye candy, excellent singing and superb Handelian playing by Laurence Cummings and the London Handel Orchestra are marred by poor diction and limited acting expressivity.

Gianandrea Noseda, ein leidenschaftlicher Verdi-Kenner, bringt die unterschiedlichen musikalischen Sphären des Stücks brillant zum Klingen. Die Regisseurin Adele Thomas findet für den schicksalhaften Gang der Handlung ein schlüssiges Symbol.