Instrument: Set Designer

Never has Brecht and Weill’s satire on the inhumanity of man to man been render with such utter darkness; Simon O’Neill heads up a superb cast.

The Polish National Opera's first staging of Strauss' massive fairy tale feels like a bold statement of intent.

The French director’s much-travelled production arrives at the Teatro di San Carlo, displaying a precise balance between word, gesture and voice. 

A deeply psychological version of the fairytale, Jean-Christophe Maillot's Cendrillon provides ample opportunities for the whole cast to delve into their characters and rise to the technical challenges.

Sir Peter Wright’s Giselle was given a well-deserved, thunderous ovation on opening night. A near perfect rendition of the ballet from all quarters of the Company was deeply satisfying.

Benjamin Britten’s dark masterpiece Peter Grimes returns triumphantly to Opera North, conducted by Gary Walker and revived by Karolina Sofulak and Tim Claydon.

Roman Mejia and a raft of soloist debuts galvanized Peter Martins' Sleeping Beauty. An elegant production with some incidental messiness and the structural liability of a princess' dependence on a kiss.