Venue: Glyndebourne Opera House

Pelly’s low-level intervention leaves the audience marooned at the end of his new production of Strauss and Hofmannsthal’s operatic divertissement. 

Michael Grandage’s production shows no signs of age, with fine central performances from Thomas Mole, Allan Clayton and Sam Carl, and fine playing from the London Philharmonic Orchestra.

One element of the Orpheus myth is about creativity, so at Glyndebourne, William Kentridge sets Monteverdi’s opera in an artist's studio, 

Mariame Clément’s production of Rossini's meta comedy is tightly revived with some excellent singing. Come for the writing tips, stay for the cured meats.

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

Mark-Anthony Turnage and Rachael Hewer update Edith Nesbit’s children's novel as a spy action thriller, with an exciting score and a strong cast of singers.

Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates.