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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.

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.

The Albanian soprano, who made a spectacular jump-in for her house debut in Richard Eyre's production in 2008, makes a splendid return. 

ETO's production of Mozart's nuptial comedy, being performed in towns across the country, lacks depth but has some terrific singing with a particularly fine Susanna from Rachel Redmond.

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

A joyous explosion of tuneful Victorian satire provides an unlikely, yet ideal, contrast to English Touring Opera's Tosca as their Patience tours the UK in this finely-cast, period-perfect production.

Jenůfa unfurls with chilling intensity at Longborough with the talented Lee Bisset in the title role. 

Even us Verdi enthusiasts experience something of a heavy tread as we wend our way to yet another Traviata at the Royal Opera House.

Any revival of La traviata stands or falls by its principals and their ability to inhabit the roles rather than merely sing them prettily. A good revival director helps. 

A gleeful production of The Marriage of Figaro from Opera North, which makes it hard to imagine any dark side at all to the comedy.