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Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival. 

Throughout the entire cast, every named role was performed with the mix of enthusiasm, affection and assuredness.

Sir Peter Wright’s classic Royal Ballet production returns for another festive run to enchant the young – and not so young – at Covent Garden. 

In a face-off between Gabriele Viviani's Scarpia and Malin Byström’s Tosca in this solid revival of Jonathan Kent's 2006 production, there could only be one winner

Lisette Oropesa leads strong vocal performances in Handel's madcap tale of love and sorcery. Richard Jones' production is visually all over the place, but in a good way.

Pite's first full-length ballet at the Royal Opera House is a brief but powerful work, expanding her 2017 creation, Flight Pattern. 

Richard Jones' production is revived again at Covent Garden, where Juan Diego Flórez and Ailyn Pérez lead a convincing cast. 

Sir Kenneth MacMillan’s Habsburg history lesson comes with a cast list as long as your arm, but the plots and intrigues ensure a gripping evening at the ballet.

This is an Aida for the 21st century, with many pertinent things to say about oppression.

A mixed bag of performances at Covent Garden, but with an outstanding Butterfly who brings ample rewards to an evening where the emotional temperature eventually soars.    

Swedish soprano Malin Byström returns to Sir David McVicar's production at Covent Garden, where she is now probably unsurpassed in the role, vocally and histrionically.

Speranza Scappucci makes her house debut conducting Verdi's early opera in concert, featuring Russian bass Ildar Abdrazakov as an outstanding Attila. 

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.

With more cast reshuffles than in Downing Street of late, this revival of Damiano Michieletto's intertwined Cavalleria rusticana and Pagliacci double bill triumphs against the odds.

Moshe Leiser and Patrice Caurier’s production has undergone a year of expert scrutiny before this well-sung revival. 

Laura Esquivel’s extraordinary novel of recipes, romances and home remedies brought to life in Christopher Wheeldon and Joby Talbot's new creation. 

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. 

Michieletto's slightly cold take on one of Donizetti's greatest comedies is amply compensated by some spectacular singing, with Pretty Yende's Norina a particular delight.

A richly varied trio of works celebrate The Royal Ballet's former director, performed with sincerity and panache. 

A strong cast and a masterclass in Wagnerian conducting from Jakub Hrůša complement David Alden’s disturbing staging.

Kyle Abraham's The Weathering doesn't feel particularly fresh on its premiere, but Crystal Pite's Solo Echo and Christopher Wheeldon's Danse à Grande Vitesse pep up the first triple bill of the season at Covent Garden. 

Deborah Warner's intelligent new Covent Garden staging provides the perfect backdrop for a strong singing cast in Britten's maritime masterpiece.

A compelling performance of this revival, dedicated by Vadim Muntagirov to the people of Ukraine.

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

Superb singing from Joyce DiDonato and Jakub Józef Orliński lights up a curate's egg staging from Katie Mitchell.

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. 

During her long career as a principal (19 years and counting), Juliet has never been an obvious pièce de résistance for Núñez. That is, until now.

A sublime Federica Lombardi leads a young cast of mostly Italian singers in a revival of Sir David McVicar's popular staging. 

A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

Marianela Nuñez and Vadim Muntagirov still reign over The Kingdom of Sweet as The Nutcracker returns to Covent Garden for a marathon run of performances over the Christmas season. 

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

This wonderful ballet has never looked better at The Royal, especially in the remarkable performance of Natalia Osipova.

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

Francesca Hayward is a captivating Juliet as Sir Kenneth MacMillan's hardy perennial is back for another long run at the Royal Opera House. 

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

Unlike many Flutes, David McVicar's 2003 production treats Mozart's score as a proper opera, albeit with romp instead of pomp. 

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.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

Marianela Núñez possesses a shimmering, celestial radiance and Vadim Muntagirov is a Prince in his prime.

A uniformly excellent ensemble enlivens the Royal Opera House's latest Bohème revival.

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

The first post-lockdown performance by The Royal Ballet offer an important indicator for the company's future.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

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

Sir Peter Wright’s festive treat is back – and Covid-secure – as the Royal Opera House stages its first full-length staged performance since the theatre closed in March.

It’s the title character who gets the best tunes in Ariodante and Irish mezzo-soprano Paula Murrihy ate them up. 

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

Christine Rice gives an astonishingly performance in an evening of four powerful chamber pieces.