The hottest opera ticket in London this season sees Jonas Kaufmann and Anna Netrebko reunited on the Royal Opera House's stage for the first time since 2008. It was worth the wait.
Amanda Majeski is magnificent in the title role; Ed Gardner shows total master of Janáček's music. But that's not enough to rescue a poorly thought out Richard Jones production.
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.
A mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.
Designer/director Antony McDonald treads a perfectly weighted path between light and dark of the fairytale; conductor Sebastian Weigle cooks up a Wagnerian storm; Michaela Schuster steals the show. A treat.
Audio and film permeate Marriott's new work for the Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington.
Perhaps feeling that the drama and emotion of the Ring Cycle wasn't enough for one year, Antonio Pappano assembled a strong quartet and deployed the ROH's forces in a powerful, moving performance of Verdi's Messa da Requiem.
Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.
We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.
Antonio Pappano and the Royal Opera Orchestra get the Ring cycle off to a blazing start; unusually, it's Lise Davidsen and the female cast who take the vocal honours.
Dismembered after the 1840 bankruptcy of its promoter, Opera Rara's decade-long reconstruction has resulted in a beautifully constructed opera that's enjoyable throughout.
A committed cast make this a beautifully performed ensemble piece in which the tragedy of young love cut short by untimely disease is compellingly put across.
George Benjamin and Martin Crimp's second full scale opera is a refinement of the craft showed in Written on Skin – but the lessons are less in love and violince than in power, tension and beauty of the score.
The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.
Yet another revival of MacMillan's signature ballet. Enlivened by tremendous performances, not least in the title role, and still a classic. But, how long will that pertain?
The Royal Opera's revival of Phyllida Lloyd's production is marked by two outstanding Verdian singers and a superb rendering of the score from Pappano and the ROH Orchestra.
Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.
Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.
The ninth revival of Jonathan Kent’s production features a great Act 1 and enjoyable Covent Garden role debuts for the three top singers, but misses the mark on the set pieces.
Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.
The father-daughter exchanges between Dmitri Platanias's jester and Sofia Fomina's Gilda prove the highlights of an evening which doesn't always catch fire.
Even stronger than first time round, Michieletto's impressive staging is complemented by an outstanding double role debut from Hymel and a heartbreaking Santuzza from Elīna Garanča.
Issues that cropped up in the first run of Mitchell's production have been ironed out. In the hands of a strong cast, a chilling interpretation of Donizetti's masterpiece.
Two complex works of genius, showing different aspects of the suffering of women, bring together The Royal Ballet and English National Ballet to honour Sir Kenneth MacMIllan
