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
A fine start to this unique collaboration between the five major ballet companies in the UK to mark the twenty-fifth anniversary of the passing of one of Britain's greatest choreographers
A mural depicting Etna erupting is the only hint of Sicily in Stefan Herheim’s opulent staging, returning to Covent Garden for the first time since the Royal Opera’s Verdi bicentenary celebrations in 2013.
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.
After his affectionate treatment of La fanciulla del West for ENO and his devastating Suor Angelica for the Royal Opera, Richard Jones’ new La bohème is disappointingly bland.
An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.
A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?
Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.
