En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Rachael Lloyd

Mark-Anthony Turnage and Rachael Hewer update Edith Nesbit’s children's novel as a spy action thriller, with an exciting score and a strong cast of singers.

Katie Mitchell's provocative staging is revived to great effect, elevated by glorious music-making led by Nadine Sierra's sensational Lucia. 

Moshe Leiser and Patrice Caurier’s production has undergone a year of expert scrutiny before this well-sung revival. 

Director Purni Morell sandpapers every trace of spikiness from Purcell's Dido and Aeneas, leaving the production a victim of its own good intentions. 

Visual eye candy, excellent singing and superb Handelian playing by Laurence Cummings and the London Handel Orchestra are marred by poor diction and limited acting expressivity.

The chance to watch their finely gauged interpretation unfold on the Royal Festival Hall platform was a privilege.

Venables conceived a wealth of acoustic and visual components that constantly overlap and interact.

A standout performance from Stephen Milling complements all-round excellence of cast to provide a satisfying end to the Covent Garden Ring.

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.

A new cast arrives for Katie Mitchell's gothic Lucia di Lammermoor – and, despite caveats about the staging, deliver some excellent performances. 

“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard. 

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

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