Instrument: Opera Company

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

The German premiere of Olga Neuwirth’s Orlando at the Komische Oper cements it as a postmodern grand opéra – for better or for worse.

Riccardo Chailly’s final new production as artistic director is a celebration of Verdi and of a conductor whose relationship with the Milanese audience has clearly deepened over the years.

In Helsinki, Antony McDonald pairs Tchaikovsky’s Iolanta with a staged version of Sibelius’ tone poem Luonnotar, brilliantly voiced by soprano Silja Aalto.

With Aigul Akhmetshina and Seokjong Baek in the title roles, there are reasons to be optimistic, but The Royal Opera’s revival of Richard Jones’ production is a mixed bag.

Kip Williams and ENO mount an extraordinary new production of Du Yun and Royce Vavrek’s multifaceted opera, with performances of great emotional directness broadcast live on camera.

A traditional Marriage of Figaro entertains with a strong cast, eye-catching design and lighting, and Amanda Holden’s earthy libretto.