En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Gemma Morsley

Trophy room glass display cases and glassy-eyed stuffed animals are the setting for a distinctive take on Wagner's epic music drama. 

Opera Loki's stylish Victorian Rigoletto, one piano accompaniment and much grease-paint later, is an enjoyable and moving evening, though it doesn't quite get to the heart of Verdi's dark masterpiece. 

Mozart’s original The Magic Flute is bizarre enough. The story of a prince and a bird-catcher’s journey to save a princess they’ve never met from a sinister quasi-Freemason who turns out to be alright, it is sufficiently packed full of great songs and good humour to have become an enduring repertory favourite – but that doesn’t mean it makes any sense. It doesn’t, really. It is a daft opera.

They say that Violetta in La Traviata is one of opera's hardest soprano parts. Violetta changes character completely over the opera's three acts – all the way from voracious party girl to delicate, dying consumptive – and the singer must be in complete control of the role to make this work. The musical part, of course, is hardly easy either.