En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mark Richardson

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?

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.

Jonathan Miller and ENO’s iconic interpretation of Gilbert and Sullivan’s The Mikado has returned to the London Coliseum this Christmas, to the delight of G&S fans across the capital, including myself.

With most of the original cast of English National Opera's critically acclaimed production returning to the Royal Albert Hall to perform Britten's Peter Grimes for the BBC Proms, this was a performance of which much of the audience had high expectations. For the most part, these were met and, on occasion, exceeded.

When choosing a Gilbert and Sullivan operetta to be performed at the Proms in a year firmly branded as "London 2012", The Yeomen of the Guard had obvious appeal, being set in one of the capital's most famous landmarks, and giving the opportunity, even in semi-staged form, to deck the hall with Beefeater uniforms.

Anthony Minghella's famous production of Puccini's Madam Butterfly debuted with ENO in 2005, and has been revived several times since at the Coliseum, as well as travelling to the Met in New York and the Lithuanian National Opera. ENO's latest revival confirms the classic status of this version, with a musical account which goes some way to matching the sumptuous and – yes – cinematic visuals.