This enchanting show offers child-friendly antics, and a knowing wink to their parents

Oliver Platt's bustling show brings comedy to the forefront with pranks galore

The orchestra responded well to the energising gestures of conductor Gianandrea Noseda

Sir Rattle conducts Sir Peter Maxwell Davies' last work, The Hogboon, with mixed results

Nabucco is a young man’s opera, says Nick Kimberley

Despite the somewhat confusing staging, there are two stand out performances from John Savournin and Anna Patalong

Annabel Arden presents the comedy as a mixture of commedia dell’arte, music hall and circus, but it ends up feeling effortful, says Nick Kimberley

Too often, this production exudes a pallid orientalism, all kimonos, origami birds and fluttering fans, says Nick Kimberley

The Pop-Up Opera company present a frisky account of one of the few genuinely comic operas, says Nick Kimberley

This presentation of Leoš Janácek’s Jenufa demonstrated opera in concert isn’t always second best

EUBO are made up of young musicians across Europe, and are giving a positive outlook to the current EU: In or Out situation

Mark Simpson's compact opera requires more action and interaction, says Nick Kimberley

They emulate and refine what Western musicians have established as the modern way, says Nick Kimberley

Judging from Gilbert's debut concert, a long-term relationship seems likely, says Nick Kimberley

The orchestra, conducted by Michael Rosewell, was on robust form, says Nick Kimberley

Philip Glass's opera doesn’t so much progress as undulate hypnotically, yet there is real sensuality in the sung lines, says Nick Kimberley

By the end, The Book of Disquiet has trapped us in Soares’s world-weary solipsism, says Nick Kimberley

Pianist Hong Xu achieved a natural balance between piano and orchestra in collaboration with conductor Markus Stenz, says Nick Kimberley

 The Orchestra of the Royal Opera House and its music director Antonio Pappano emerged from the pit and stole the limelight, says Nick Kimberley

If Gardiner doesn’t drive as hard as he used to, he still knows how to keep music and musicians light on their feet, says Nick Kimberley