En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sion Goronwy

Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

Oliver Leith's opera is inspired by the death of Nirvana front man Kurt Cobain and it turns out to be a mesmerising, fulfilling creation.

Finally reaching the stage of the Venetian theatre, Benjamin Britten's first major opera meets with success thanks to Juraj Valčuha's conducting, Paul Curran's staging and an excellent cast.

Britten's four lovers were costumed in quasi-contemporary, even glamorous manner, stripping to their underwear for the end of Act 2... so more Love Island than Ancient Athens.

Daisy Evans' take on Verdi's iconic tale of love stymied by the cruelty of others is characteristically innovative and insightful, while also blessed with a remarkable central performance from Anna Patalong. 

Netia Jones' new production taps into Britten's silvery underworld in a staging dominated by video wizardry which is hypnotically beautiful, but comes at a price.

I arrived at the Royal Opera House in the usual way, settled into my seat, and – could you believe it – the opera was gone!

“Out of this wood do not desire to go!” Tytania orders Bottom. Glyndebourne's revival of Peter Hall's classic production of A Midsummer Night's Dream is eerily enchanting, weaving its spell right from the queasy double bass glissandos, which slither into Britten's score.

“Honour your masters!” Sachs instructs Walther in the final scene. Wagner's spirit was honoured well as Glyndebourne's festival opened, but did the song contest necessarily crown the right winner?