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To launch his second season with the LSO, Sir Antonio Pappano parades his American inheritance with a blazing evocation of faith, hope and resilience. 

The Zurich opera house launches a novel production of Stefan Wirth's new opera in three movements based on the popular 1999 novel by Tracy Chevalier. 

Herheim places the composer at the centre of his opera in a staging that's clever and erudite but somewhat cold; musical performances are mixed.

Edward Gardner opens the Hallé's Thursday series with dramatic Strauss and Janáček.

The London Philharmonic’s concert performance of Enescu’s Oedipe proves an extravagant but triumphant way to launch the orchestra’s new Royal Festival Hall season.

Vladimir Jurowski and the LPO gave a stunning performance of Enescu’s operatic masterpiece, despite a dramatically limp concert staging.

Great opera at the Los Angeles Philharmonic as Esa-Pekka Salonen conducted Debussy’s Pelléas et Mélisande as part of the City of Light, a retrospective that examines works seen in Paris during the first half of the 20th century. 

David Alden’s muddled clichés failed to convince all the time, but Edward Gardner steered us through a thrilling musical account of Tchaikovsky’s terrific opera.

With the Philharmonia on top form, a superlative cast and clever touches of direction, this was a truly stunning concert performance of Debussy's only opera.

Who needs scenery anyway? A blistering Elektra from Semyon Bychkov, starring Christine Goerke, lights up the BBC Proms by sheer force of performance. 

In the revival of David Alden's Peter Grimes at English National Opera, the singing is excellent, the orchestral performance is out of the top drawer and the staging hardly puts a foot wrong.

Read our review of John Doyle's production of Britten's Peter Grimes in its 2008 broadcast from the Met Opera in New York.

Not a new production, the Metropolitan Opera’s staging of Dialogues des Carmélites, originally directed by John Dexter in 1977, was nonetheless fresh and compelling in its approach and not at all tired, despite its age.

With most of the original cast of English National Opera's critically acclaimed production returning to the Royal Albert Hall to perform Britten's Peter Grimes for the BBC Proms, this was a performance of which much of the audience had high expectations. For the most part, these were met and, on occasion, exceeded.

When choosing a Gilbert and Sullivan operetta to be performed at the Proms in a year firmly branded as "London 2012", The Yeomen of the Guard had obvious appeal, being set in one of the capital's most famous landmarks, and giving the opportunity, even in semi-staged form, to deck the hall with Beefeater uniforms.

Some in the audience stormed to their feet at curtain call with exuberant bravos for the cast and conductor. Others walked out at the first intermission. “A monumental success,” one claimed. “The worst opera I’ve ever seen,” another said leaving the theater.

Read our review of Laurent Pelly's production of Donizetti­'s La Fille du Régiment in its 2008 broadcast from the Met Opera in New York.