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Cecilia Stinton’s new production of Lucia di Lammermoor doesn't necessarily make best use of OHP’s performance space, but the singers excel. 

Aigul Akhmetshina is outstanding in the title role, hearing Piotr Beczała is a privilege, but it's Damiano Michieletto's new staging that takes the honours.

Canadian Opera Company’s revival of John Caird’s art-infused production is perfectly realised in singing, acting, and the orchestra’s vibrant yet velvety colours.

Riddle me this: what is the result of combining Andrei Serban's beloved staging of Turandot with Antonio Pappano's first stage outing of the piece? Answer: a thrilling evening.

The Royal Opera's revival of Keith Warner's staging feels underbaked, although interest is largely focused on the pit as the latest contender to take over from Antonio Pappano as Music Director is auditioned.

Inspiration eludes the director as a new staging of Saint-Säens’ biblical epic falls flat but for some excellent musical performances led by outstanding mezzo Elīna Garanča. 

The second cast of the season for Oliver Mears' new Royal Opera production augments the intelligent staging with superb singing and acting.

It was fitting that one of The Royal Opera's most loyal servants, Renato Balsadonna – Chorus Director of the Royal Opera Chorus from 2004-16 – was in the pit for this anniversary performance, leading an often thrilling musical account. 

The Italian soprano produces enormous power and great sensitivity in equal measure to illuminate a memorable Verdi Macbeth.

Following success in New York and Madrid, Oropesa gives Covent Garden a Violetta that will be difficult to better.

Oliver Mears’ first production since becoming Director of Opera also heralds the start of a new Royal Opera season, with a full house finally returning after the long Covid hiatus.

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.

The evening’s most unbuttoned applause was reserved for two native anglophone artists, countertenor Patrick Terry and bass-baritone Michael Mofidian.

La mise en scène d'Anna Bernreitner place l'opéra mozartien dans un univers de bande dessinée et de dessin animé qui rend l'ouvrage passionnant pour les novices comme pour les inconditionnels de La Flûte.