Venue: Théâtre des Champs-Élysées, Paris

A disappointing staging of Weber's supernatural opera by Compagnie 14:20 in Paris

The Canadian director's aesthetic is a perfect fit for Gluck's work. Dazzling performances by Gaëlle Arquez and Stéphane Degout. Great musical direction by Thomas Hengelbrock.

As well as keeping the musical, choreographic and theatrical treasures of the Ballets Russes alive, En compagnie de Nijinsky reignites the company’s avant garde-ist vision.

Richard Wagner, reviewing La Reine de Chypre for the Dresden Abend-Zeitung, praised Halévy's opera as “decidedly the best that has appeared on the Opéra's boards since Meyerbeer's Les Huguenots”. It's impossible not to agree. 

Renée Fleming swoons in Strauss' Four Last Songs, while having Christian Thielemann and the Staatskapelle Dresden are our guides in the Alpine Symphony. 

A revival of Bertolt Brecht and Kurt Weill's Die Dreigroschenoper at the Théâtre des Champs-Élysées is a remainder of director and visual artist Robert Wilson's greatest achievements.

Christophe Rousset leads Les Talens Lyrique in a double Baroque bill: Charpentier's Acteon and Purcell's Dido and Aeneas.

At the basic level Tristan und Isolde is an opera of hormones, not happenings; fathoms deeper it explores human experience at a point where sense is dumb and flesh retires – as close to heaven and hell as it’s possible to go without first having to die.