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Handel's oratorio is staged by Olivia Fuchs and conducted by Johanna Soller in Opera North's latest successful collaboration with Phoenix Dance Theatre. 

Opera North’s The Flying Dutchman, directed by Annabel Arden, conjures up frightening storms and links the production to the plight of asylum seekers. 

Conducted by Christoph Konz and directed by James Brining, Opera North’s revival of The Magic Flute remains an inventive reinterpretation of Mozart’s classic opera. 

Sir Mark Elder conducts his final opera performance as Musical Director of The Hallé, a rare chance to hear the original version of Verdi's middle period opera. 

Opera North's revives its Cavalleria rusticana production by Karolina Sofulak, pairing it this time with Rachmaninov's early opera Aleko. 

James Hurley directs a new production of Puccini's neglected opera to close Opera North's Green Season. 

Directed by Matthew Eberhardt and conducted by Matthew Kofi Waldren, this semi-staging of Bizet's opera is well worth experiencing, despite its weak plot. 

The director Edward Dick and his designer, Tom Scutt, alternate between realistic and expressionistic images in their creation of grim spectacle.

Richard Farnes returns to Opera North to conduct and Sam Brown directs a concert staging of Wagner's final opera, Parsifal. 

Opera North performed a semi-staged and shortened Fidelio with a committed group of soloists, chorus and orchestra led by Mark Wiggelsworth.  With a pared Orchestra, the opera came across as a hymn of hope.

Opera North's revival of Mozart's The Marriage of Figaro directed by Jo Davies and conducted by Antony Hermus at Leeds Grand Theatre is still full of comic exuberance.

Opera North brings Kurt Weill's “Broadway opera” Street Scene to the Leeds Grand Theatre in a thrilling production directed by Matthew Eberhardt and conducted by James Holmes.

Michael Barker-Craven directs and Renato Balsadonna conducts this successful revival of Puccini's La bohème in Opera North's production at Leeds Grand Theatre.

In 1724, Handel's Giulio Cesare was a vehicle for star singers Senesino and Francesca Cuzzoni. Maria Sanner and Lucie Chartin step into their shoes with great success for this Opera North revival. 

At a time when the “relevance” is bandied around all too frequently in relation to opera, Martinů's really does deserve that tag. 

Opera North's Aida, directed by Annabel Arden and conducted by Sir Richard Armstrong in Leeds Town Hall, is a welcome radical interpretation in the spirit of the times. 

A daring double bill from Opera North and Phoenix Dance Theatre pairs Jeanguy Saintus' new choreography for The Rite of Spring with a revival of Christopher Alden's production of Gianni Schicchi. 

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

Sinister aspects are stressed in Mozart's The Magic Flute at Leeds Grand Theatre directed by James Brining and conducted by Robert Howarth.

Opera North's triumphant UK première production of Silent Night by Kevin Puts is directed at Leeds Town Hall by Tim Albery and conducted by Nicholas Kok.

Giles Havergal directs and Martin André conducts an energetic production of Franz Léhar's The Merry Widow at the Grand Theatre, Leeds.

Edward Dick directs a Tosca full of contemporary references with Opera North at Leeds Grand Theatre, Puccini's score conducted by Antony Hermus.

Cole Porter's exuberant wordsmithery and his smash-and-grab appropriation of a dozen musical styles can hardly fail to entertain; Opera North give us four top class leads.

Alessandro Talevi's production of Don Giovanni, conducted by Christoph Altstaedt, receives a welcome revival at the Grand Theatre, Leeds. 

If you had received an invitation to a masked ball at which there turned out to be no masks and no dancing, it's understandable you'd feel disappointed. 

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

Two thematically linked, but contrasting short operas are the final component of Opera North's Little Greats season at the Leeds Grand Theatre.

Opera North's Little Greats festival continues with two deeply contrasting short operas - a grimly tragic and austere version of Macagni's Cavalleria rusticana and a frothy and hilarious production of Gilbert and Sullivan's Trial by Jury.

Charles Edwards and Annabel Arden direct Leoncavallo's Pagliacci and Ravel's L'Enfant et les sortilèges in a contrasting pairing of two short operas in Opera North's 'Little Greats' season.

At the opera’s great climaxes Suffolk’s famous wood-and-brick building could barely contain it.

La Cenerentola is the final component of Opera North's fairytale season, with every voice and every character getting a chance to revel in Rossini's intricate ornamentation.

Opera North's Hansel and Gretel at the Grand Theatre Leeds, directed by Edward Dick, is witty and perceptive, with some insights provide by Freudian psychanalysis

Opera North's new production of The Snow Maiden is the first professional staging in the UK for over 60 years, although the magic is intermittent

Crowning this cycle came a truly magnificent performance of Götterdämmerung, centred very much on Richard Farnes and his orchestra.

Opera North's Andrea Chénier at Leeds Grand Theatre directed by Annabel Arden is full of modern relevance and a fine start to the new season

A fine new edition of Mozart's Requiem recieves its UK première, overshadowed by a trenchant Sibelius Fourth from Opera North under Jac van Steen.

Opera North's La traviata at the Grand Theatre, Leeds, makes an excellent start to Opera North's new season.

This new production of Mozart’s final, and often overlooked, opera from John Fulljames and Opera North is neither a period piece nor a straightforward translation into our own time. Instead, it inhabits it own dark and austere world created by set designer Conor Murphy and Finn Ross, whose stylish abstract projections incorporate elements of government buildings both ancient and modern.

Few operas begin as arrestingly as Verdi’s Otello; no overture here – or, indeed, the first act of Shakespeare’s play. Instead, in a single galvanising orchestral outburst a terrific storm is set in motion, underpinned by the most gratingly dissonant of pedals in the lowest reaches of the organ.

To add insight and context to their performances of Das Rheingold, Opera North have been staging a number of events exploring Wagner, his music and the production of his operas. On Saturday evening their Howard Assembly Room played host to The Cross in the Mountains, an evening of German choral music composed in the age of the Ring Cycle.