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Jonathan Miller’s game-changing mafioso setting of Rigoletto returns to the Coliseum, vividly conducted by Richard Farnes. 

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

Miller's production, running since 1987, is starting to show its ago, but an excellent performance from Anna Devin keeps English National Opera's latest revival moving.

Jonathan Miller's modish production returns to The Metropolitan Opera with three leads who are absolutely right. 

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

Yannick Nézet-Séguin’s proves the highlight of a frustrating evening at The Metropolitan Opera

Jonathan Miller's production of La bohème is revived by ENO and features an important house debut. 

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

Jonathan Miller's production remains a work of brilliance, but poor conducting amongst other things keeps this revival from getting off the ground.

Jonathan Miller may not be directing new productions of operas any more, but his productions are still being revived in many countries; in Tokyo’s New National Theatre, his Falstaff has just been revived.

Miller eschews the oriental side of the tale, seeing The Mikado as a play on daft British eccentricity. 

A wittily staged, but variably sung twelfth revival of Jonathan Miller's production at the Coliseum. 

A bearded lady and her taxidermied shark are just two eccentric characters livening up Stravinsky’s 1951 moral fable The Rake’s Progress, though the shark is unique to Jonathan Miller’s revived production. 

ENO's revival of Jonathan Miller's 2009 production is musically solid, but falls short of the dramatic intensity achieved in previous years.

What to do with a “classic revival” that has, in the main, met the critics’ eye of approval? That was the question facing Natascha Metherell, the revival director of ENO’s production of La bohème, which opened this week at the Coliseum. The revival was in fact deftly handled: a production which remained faithful to Miller’s original vision, with honest, rather than over-egged, sentimentality.

In the celebratedly short time in which Rossini wrote The Barber of Seville, he got into a time capsule and took a short trip to twenty-first century London; on his return to 1816 Rome, he wrote the part of Rosina for Lucy Crowe's voice. Or at least, that's what it felt like at ENO last night, as Crowe turned in a performance which outstrips my ability to find superlatives.

Jonathan Miller and ENO’s iconic interpretation of Gilbert and Sullivan’s The Mikado has returned to the London Coliseum this Christmas, to the delight of G&S fans across the capital, including myself.

I hear that both you and your friend are getting married to wealthy and pretty ladies from Washington DC?My heartiest congratulations, gentlemen! As my early wedding gift, allow me to offer you some marriage wisdom: when your beloved betray you, remember to forgive them and keep living happily ever after.Don’t believe in betrayal? Well, then, allow me to prove my point.

The last opera of the Mozart/Da Ponte cycle – the second of the composer’s operas to be performed in this Mozart-dominated season at the Royal Opera House – Così fan tutte pivots on two pairs of young lovers whose affection is put to the test by an old ‘philosopher’, Don Alfonso. Women, the old man argues, are all the same: never constant in their love, never loyal to their men.

For all their eagerness to embrace the new and radical, ENO are often at their best in more traditional fare. Jonathan Miller's delightful production, first seen last season, charms more than it challenges with a candy-coloured evocation of a more innocent age. The apple pie America of a 1950s prairie diner replaces the 19th century Italian village of Donizetti's original.

Jonathan Miller's much-loved production of The Mikado for English National Opera is now 25 years old and well remembered. But not, I confess by me. My last experience of Gilbert and Sullivan was on the other side of the curtain, as a sister, cousin or aunt in a school production of HMS Pinafore, an experience sufficiently scarring that I resolved never to go to a G&S opera again.

Giuseppe Giacosa and Luigi Illica's libretto for La Bohème has to rank as one of the greatest libretti in opera. It's fast-paced, taut and witty throughout, expansively romantic at times. Most importantly, the wonder of La Bohème is the way it paints human relationships with the pin-point accuracy of a Dutch master or a Victorian miniaturist.

Una velada correcta para una obra que requiere algo más de desgarro

Cela fait près de vingt ans – et plus de cent représentations – que cette production de La Bohème, mise en scène par Jonathan Miller, ravit les spectateurs de l’Opéra de Paris.

L'incontournable Bohème de Puccini est une nouvelle fois à l'affiche de l'Opéra Bastille. Une valeur sûre dont on aurait tort de se lasser.