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Anna Devin's Cleopatra moved with complete conviction for scheming minx to mature woman in love.

Brett Dean's Hamlet is an extremely powerful theatrical experience, excelling in all aspects of production, singing and musical values, but is it an opera?

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

Handel's psychotic Tartar leader and bedhopping nobles are well served in an excellent collaboration between the Buxton Festival and the English Concert with some outstanding singing from Marie Lys and Owen Willetts.

Amor vien dal destino, by the celebrated multi-talented Italian Agostino Steffani, receives its first staging in 300 years in Berlin's Schiller Theater under the direction of René Jacobs.

A pasticcio not seen since 1725, Elpidia contains some excellent music... even if it isn't by Handel!

An opera that pokes fun at opera seria? An opera that features backstage preparations for a show, followed by an opera within an opera? No, it’s not Strauss' Ariadne auf Naxos. 

Bruno Ravella's version of Handel's Agrippina moves the action from Classical Rome to the avaricious Eighties in a sharp, amusing night at Iford.  

An exceptional mood of teamwork and virtuosity combine to ensure Fabio Biondi's reconstructed pasticcio of Vivaldi's lost L'oracolo in Messenia is an intense, disorientatingly beautiful evening of breathtaking musicianship. 

When Jean-Christophe Spinosi stepped onto the podium to conduct Le Comte Ory that night, he didn’t wait for his applause to cease, but instantly cued a hearty forte from the Ensemble Matheus, and consequently a few incredulous looks from the audience.

Riccardo Primo, Re d’Inghilterra (or in English, Richard I), is Handel’s only opera based on the story of an English monarch, and it was premiered in the coronation year of King George II in 1727 (although in fact it was composed the year before but postponed).

This week, the annual London Handel Festival, now in its 34th year, opened with a new production of his opera Rodelinda.

Christophe Rousset und Les Talens Lyriques zeigen, dass etwas Verschollenes modern, ergreifend und aufregend sein kann.

Christophe Rousset et Les Talens Lyriques exhument La divisione del mondo, opéra de Legrenzi donné pour la première fois en France 350 ans après sa création. Une découverte qui offre des moments exquis, portés par la mise en scène de Jetske Mijnssen.