This absorbing new production benefits from innovative staging

A memorable revival at Covent Garden

The German tenor reverted to little more than a half-voice croon for much of the show

Never has Poulenc’s masterpiece seemed so searingly a work of our time

Cecilia Stinton’s new staging provides fresh insight into this problematic canon opera

A pair of nuanced and contemporary reimaginings

This new work by the orchestra’s composer-in-residence oscillated between the dramatic and the contemplative

This extraordinarily powerful and disturbing opera by Finnish composer Kaija Saariaho is making its UK debut

Korngold’s virtuoso score has all the jewel-like glitter of Strauss’s Salome with a lyrical flow to match Puccini

Gražinytė-Tyla’s whiplash rhythms served the pieces well

It may not be top-drawer Handel but this performance still set it alight

Ann Yee and Natalie Abrahami’s new production reframes the story as being about the despoliation of nature

The blazing fusion of music and drama is only kindled in the closing stages

Conceived for a specific singer, this staging doesn’t best serve anyone

We’re at the start of something special, and the audience knew it

Wotan’s daughter isn’t the most obvious person to speak for the sisterhood, but this new music production gives her a new voice

This operatic adaptation of the controversial Holocaust tale is given a simple yet effective staging

These two pieces are rarely played together but it turned out to work perfectly

An endlessly inventive staging of Handel’s gloriously tuneful opera

Nobody articulated the essence of melancholy better than John Dowland, and nobody could give it more eloquent voice than countertenor Iestyn Davies