Venue: Holland Park Theatre, London

Opera Prelude’s emerging artists bring out both contrasts and similarities in Trouble in Tahiti and The Seven Deadly Sins.

It's New Year’s Eve 1929-style, but the Champagne is a touch warm in OHP's first production of Strauss’ most popular operetta, Die Fledermaus. 

Elin Pritchard’s Amelia lights up an evening which is superb musically, easy on the eye and eventually overcomes the shortcomings of Antonio Somma's libretto.

Mount Vesuvius looms over Cecilia Stinton’s compelling new production of Così fan tutte.

A thoughtful production from Martin Lloyd-Evans and magnificent playing from Matthew Kofi Walden and the City of London Sinfonia make the case for why Puccini's under-appreciated work is actually so sophisticated. 

Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

Cecilia Stinton’s new production of Lucia di Lammermoor doesn't necessarily make best use of OHP’s performance space, but the singers excel. 

Despite some excellent music-making, John Savournin's production is hindered by a laboured New York relocation.