En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Alun Rhys-Jenkins

Olivia Fuchs solves the problems of Britten's thorny opera in a brilliant new production that hits the heights, featuring Mark Le Brocq as earthbound scholar, Gustav von Aschenbach.  

Deborah Colker's production, seen last season at Scottish Opera, moves to the Wales Millennium Centre for an autumn tour. 

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

When the entire plot is triggered by a freak accident, you can't blame director David Pountney for making Fate itself one of the key characters.  

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

How picturesque do you like your Puccini? Do you take your Turandot sweet or sour? How much lacquer is layered over your ideal Madama Butterfly?

The sheer opulence of Minghella's staging often overwhelms, drenched in colour. Is that enough to really get to the core of the drama though, or is it all surface gloss?

Calixto Bieito  updates the Carmen to the final years of Franco’s dictatorship and in Joan Anton Rechi’s revival, the results are often gritty and fierce, if unlikely to do anything for the Spanish tourist trade.

Full of physical comedy, joyous and enthusiastic, Fiona Shaw's vision of Mozart's The Marriage of Figaro makes the most of its taut and energetic plotlines, intense charactisation and beautifully balanced music. 

To describe this revival of Puccini's much-loved Madam Butterfly as a visual spectacle would be to do it a disservice. Originally directed by Anthony Minghella in its first outing in 2005, it is one of ENO's greatest success stories.