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Excellent vocal acting and total commitment to the text make for a riveting piece of operatic storytelling, driven by James Schouten's powerful Loge.

Verdi's rarely-performed masterpiece gets an intense, intimate outing with a very fine cast at Fulham Opera.

Daisy Evans' dystopian, immersive Dutchman for Fulham Opera may be tough medicine – but, with such glorious singing on offer, it's an unmissable chance to step into Wagner's soundworld. 

A superb Susanna and an excellent Count make this small-scale, traditional and period Marriage of Figaro from Regents Opera feel truly fresh and alive. 

There are times a tarnhelm would come in useful. Limited to more conventional means of transport, this reviewer found that it took a ridiculous hour and a half to drive from Soho to Fulham, as a result of which I’m afraid I missed the opening scene of Fulham Opera’s Götterdämmerung.

You have to sit in a small Fulham church, on a pretty uncomfortable chair, for at least four hours. And listen to a load of opera singers warbling about dwarves and gold and stuff. From certain perspectives, Fulham Opera’s production of Wagner’s Siegfried doesn’t sound like much fun at all.

For any opera company to mount a Wagner opera is a great undertaking. For a very small semi-professional opera company to mount the entire Ring cycle is a feat of extraordinary daring and perhaps madness. But that is exactly what Fulham Opera has decided to do.

Fulham Opera’s 2012 season is, once again, one dedicated to Puccini and Wagner. Last year, the company brought to stage Puccini’s Suor Angelica – the long-unpopular middle opera of his Il trittico – and the opening work of Wagner’s Ring cycle, Das Rheingold. This season, St.