En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | The Royal Opera

Oliver Mears' new staging impresses and Jakub Hrůša's first season as Music Director excites interest. But the evening belongs to Anna Netrebko.

Superb Handelian singing and intense character acting light up Handel’s Semele, staged as a stark, uncompromising indictment of the rich and powerful. 

Stripped of its original superstar casting, Gounod’s grand opera provides entertainment but fails to cohere. 

Pimpinone was conceived as a musical interlude – or intermezzo – between acts of Handel’s Tamerlano. Here, it marks the first time a Telemann opera has been staged at Covent Garden. 

The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

Aigul Akhmetshina is on the verge of becoming the definitive Carmen; in this first revival of Michieletto's 2024 production at Covent Garden, she delivers the standout performance. 

Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

Giacomo Sagripanti’s live wire dynamics and keenly judged tempo choices keep this revival of Verdi's Il trovatore buoyant at Covent Garden. 

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

Two individual works worth seeking out with outstanding performances in each.

Strong performances by chorus, orchestra and the father-daughter pairing of Amartuvshin Enkhbat and Anna Pirozzi make this Covent Garden revival well worth the visit.

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

Kate Lindsey and Heidi Stober weave vocal magic in the latest Covent Garden revival of Humperdinck's box of delights. 

It's not without flaws, but the latest revival of Richard Jones' beautiful production of Puccini's beloved Parisian tale has drama aplenty.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

With gloriously inventive sets and costumes, Alex Esposito’s splendid Four Villains drive a wonderfully entertaining new production.

Henry Neill gives a devastating performance as Sam in Trouble in Tahiti in The Royal Opera’s Bernstein double bill in the Linbury Theatre. 

This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

As Richard Eyre’s staging reaches its 30th anniversary, a new Violetta arrives on the Royal Opera block in what proves to be one of the best revivals in recent years. 

Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

Golda Schultz leads a fine cast in the fourth revival of Jan Philipp Gloger's Royal Opera production. 

An inclusive evening that was full of charm and gave young students a chance to work alongside seasoned professionals.

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

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

Aigul Akhmetshina is outstanding in the title role, hearing Piotr Beczała is a privilege, but it's Damiano Michieletto's new staging that takes the honours.

With the help of excellent singing and acting performances from a cast led by Asmik Grigorian and Joshua Guerrero, Puccini’s tale of abandonment hits home.

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek. 

The Armenian soprano sweeps all before her in a delightfully controlled, touching performance, enhanced by a voice that would melt the stoniest of hearts. 

Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.

A forgettable Hansel and Gretel is the worst offence of Antony McDonald’s leaden staging which returns to Covent Garden. 

Questionable conducting aside, The Royal Opera's latest revival of Damiano Michieletto’s fluid production of the famous operatic double-bill is terrifically executed by two excellent casts.

Handel's last oratorio is stylishly set in the composer’s era, with an all-star cast of Handelian singers who give their all.

It's been a long wait since Cardiff Singer 2015, but the Mongolian baritone gives an outstanding vocal portrayal of Verdi’s doomed jester at the Royal Opera House.

Sir George Benjamin and Martin Crimp’s new chamber opera receives a powerful UK premiere in the Linbury Studio at Covent Garden. 

A triumphant house debut for Nadine Sierra in the latest revival of Laurent Pelly’s production of Donizetti's joyous village rom-com. 

Christof Loy's 2019 production proves even more compelling second time round, with excellent acting and a properly heroic tenor performance from Brian Jagde.

The first instalment of Covent Garden's new Ring is excellent all round from orchestra and voices, with Barrie Kosky providing plenty of ideas to tease us as to how the cycle will continue. 

Joana Mallwitz makes her Royal Opera debut in the pit as Sir David McVicar returns to direct this revival of his much-loved 2006 show.

The Norwegian soprano scores a major success at Covent Garden in her role debut as Elisabetta, whetting appetites for more Verdi to come. 

The star tenor is clearly under the weather, but the young house-favourite mezzo shines in an impressive role debut in a revival of Benoît Jacquot's cinematic staging. 

Adele Thomas’ Royal Opera staging channels the Marx Brothers in playing it for laughs, but the musical compensations are many under Sir Antonio Pappano.

A potent rendering of Alban Berg's tale of the traumatised and impoverished war veteran.

Robert Carsen's Aida focusses on the brutality of war, with powerful lead performances from Angel Blue, SeokJong Baek and Elīna Garanča, plus strong orchestral colours from Sir Mark Elder.

The Royal Opera presents another Handel rarity for its Jette Parker Artists in the Linbury Theatre, the but action thriller approach is ill-suited to the ancient tale. 

Kaija Saariaho's opera – staged by Simon Stone and the hit of the 2021 Aix-en-Provence Festival – makes its UK debut.

Riddle me this: what is the result of combining Andrei Serban's beloved staging of Turandot with Antonio Pappano's first stage outing of the piece? Answer: a thrilling evening.

Ann Yee and Natalie Abrahami give Rusalka an ecological reading, but it's the musical side of things that really takes flight in The Royal Opera's new production.