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Tom Creed’s witty production at Lismore Castle delivers strong singing, sharp comedy and lively orchestral playing, even if the opera’s darker supernatural edges are somewhat diminished.

Peter Whelan drew rare urgency and transparency from Brahms, while Carlos Ferreira’s lyrical finesse elevated Weber beyond expectation.

Ruth Knight untangles Handel's Rodelinda, directing a new staging at Garsington which features a feast of fine singing. 

Venetian Baroque opera once had a raison d'être of spectacular and complex stagings, but Daisy Evans makes us see that other ways are possible.

Polly Graham's take on Mozart's Così fan tutte is full of humour and political commentary, while the singing is a joy to hear. 

In its Royal Opera House debut, Irish National Opera's high-energy Bajazet provides a great evening for Baroque fans and sceptics alike.

As part of 'London Unwrapped', countertenor Iestyn Davies presented vocal portraits of the altos – male and female – for whom Handel composed in the capital. 

A thoroughly satisfying, entertaining production of Mozart's Die Zauberflöte from Irish National Opera. Anna Devin delivers a delightful Pamina and Nick Pritchard a convincing Tamino. 

English Touring Opera’s new Radamisto took time to settle down on opening night.

A wonderful ful-filled caper by the Irish National Opera of Mozart's The Marriage of Figaro with Erraught as Susanna and Miskelly as Cherubino really impressing. 

It's likely that Mozart never actually heard his Clarinet Concerto performed. That fate, happily, has not been shared by Michael Gordon, who has heard Peter Whelan perform his new bassoon concerto Observations on Air four times this week. 

McFall’s Chamber brings a freshness to its repertoire as it revisits the Bongo Club years, and performs two newly commissioned pieces. Informal and very enjoyable.

La Serenissima bring a fresh interpretation to a seasoned classic in Cambridge.

Always with an eye for the unusual, The Hebrides Ensemble surpassed themselves brilliantly with a lively programme of Amerian influenced music, including Elvis on bassoon.

Eine Deutung, die am Karfreitag den emotionalen Höhepunkt des Todes höchst ergreifend einfängt. Und sich an den zentralen Partien ausrichtet, die mit optimalen Kieran Carrel und Konstantin Krimmel im Gedächtnis bleibt.

Peter Whelan und seine Musiker verfehlten die Wirkung eines besonderen Konzerterlebnisses nicht, indem sie vor allem ein überragendes Phrasierungs- und Dynamikfeuerwerk hinlegten.

Dieser Chor versteht Effekt und Können wie kein anderer. Er schlägt ein wie ein Blitz, mit ihm die EBS und Peter Whelan. Überwältigend.