Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.
Not quite as innocent an account of opera buffa as others, but for quality of musicianship, Glyndebourne Tour's revival of Mariame Clément’s production of Donizetti's comedy hits all the right notes.
For social distancing reasons, the Festival dispensed with a full staging of Wagner's epic love story, allowing singers and orchestra to share the stage in an able compromise.
Bumble? Tinder? Who needs a dating app when you have Rabbi David setting up every singleton in sight. Opera Holland Park's new production of L'amico Fritz is a feel good rom-com that will warm the heart.
Lush visuals and appealing singing do not quite make up for a somewhat lacklustre revival of Nicholas Hytner's acclaimed 2006 production of Mozart's late comedy.
Garsington Opera's new production of Rossini's comic masterpiece is a bawdy hoot, but humour aside it features an ensemble who provide first-class bel canto singing.
Grange Park Opera's revival of its 2015 production of Puccini's La bohème hits some high notes with a very contemporary feel and some excellent singing from its leading ladies.
Lise Davidsen is now a major talent and in this warmly presented recital, she showcased technical ability and raw power in a programme of Scandinavian and German songs.
Bieito’s Carmen is now a mainstay of ENO's repertoire, but with an excellent central cast led by Sean Panikkar and Justina Gringytė, the production feels entirely fresh.
Bertrand de Billy made his debut with the LPO in an all-French programme headlined by Fauré's Requiem and preceded by a rewarding pairing of Poulenc's Organ Concerto and Sept Repons des Tenebres
Annabel Arden's superb production of Donizetti's classic makes a welcome return for the Glyndebourne Tour in a taut revival led by two excellent principals.
Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.
Making his Proms debut, Cristian Măcelaru opened the evening with music from his countryman, Constantin Silvestri, before tackling Prokofiev and Rachmaninov.
Any occasion to see Donizetti's first big success is to be welcomed. The Longborough Festival's new production of Anna Bolena gives us a Tudor court in terror of a brutish, Henry VIII as he seeks to supplant Anne Boleyn with Jane Seymour.
Comic opera can fall flat, but if The Grange Festival's new production of Verdi's final masterpiece is a total delight, with a strong concept and a strong cast. This is country-house opera at its best.
Lloyd-Evans' new production of Mozart's classic might be traditional, but there's no lack of astuteness in his direction of his characters. Problems in the pit hinder an otherwise strong musical performance.
Opera Holland Park updates Puccini's setting to the 1960s in a production that does not completely work, but benefits from the strong performance of Elizabeth Llewellyn as its leading lady.
Thomas Adès and the Britten Sinfonia now enter the final phase of their three year Beethoven and Barry cycle with rewarding interpretations of Beethoven's Seventh and Eighth,separated by a new Viola Concerto from Barry.
