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Elisa Verzier, making her Glyndebourne debut, is astonishing as Violetta in a revival of Tom Cairns' 2014 production. 

The first revival and first pairing of two award-winning choreographies proves to be a very rewarding double bill. 

Cathy Marston is a choreographer who excels in narrative ballets but seldom in a literal sense. 

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

Tim Albery's production for Opera North is well sung and superbly acted, involving us deeply in Janáček's tragic family drama.

An emotionally intense Violetta from Mané Galoyan in Tom Cairns' darkly challenging La traviata launches Glyndebourne Tour's 50th season

A convincing revival for Opera North's Madama Butterfly at Leeds Grand Theatre directed by Tim Albery and conducted by Martin Pickard.

Adès opera resists explanation, and the ambiguity of the story drives much of its compelling nature. 

Glyndebourne's second Traviata cast of the summer saw the festival field three principals worthy of any major international opera house. 

There's no faulting the execution, but the former Python's take on Berlioz's dramatic legend is worryingly inconsistent in tone. 

Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

The Salzburg Festival audience warmly applauded Thomas Adès, Tom Cairns and all musicians for a rounded and gripping première.

Mozart himself might have pulled a few weeds from this early opera. Lovely voices and sprightly playing can't overcome an overgrown plot in Santa Fe. 

A safe performance of Poulenc's extraordinary opera in Washington, lacking in pity and terror.

Tom Cairns’ Glyndebourne production features svelte costumes and sets, yet – unlike Verdi’s response to Marie Duplessis’ fate – Violetta’s tale left me entirely unmoved.

The strange yet compelling story of the 350-year-old opera singer Elina Makropulos was Opera North’s showcase in a production première at this year’s Edinburgh International Festival. Leoš Janáček wrote The Makropulos Affair, his penultimate opera, based on the Karel Čapek play about Elina Makropulos, who was given a potion to preserve her youth when she was sixteen.

La mise en scène de Robert Icke est une cruelle déception, pas compensée par les qualités de la distribution et de la direction musicale de Simon Rattle.