Handel: Theodora (Glyndebourne) – review
This recording is full of audience noise but as a memento of one of Glyndebourne's finest shows of recent times it's matchless, writes Andrew Clements
Verdi: Falstaff – review
Vittorio Gui conducts a more relaxed version of the Verdi opera than the famous 1963 Georg Solti, writes Tim Ashley
La Bohème – review
A young cast adds credibility to David McVicar's 11-year-old staging, which returns in fine fettle for Glyndebourne on Tour, writes George Hall
Don Pasquale – review
This is a sensationally sung and tremendously slick production, though there's no justification for Mariame Clément's violation of the opera's plot, writes Tim Ashley
BBC Proms 47, 49, 50, 51, 53, 55 – review
Rinaldo turned frisky at the Royal Albert Hall. Mostly, though, it was Brahms all the way, writes Fiona Maddocks
Prom 55: Rinaldo – review
The semi-staging of the Handel opera, ported over from Glyndebourne, is tacky; thank heavens for the music, says Erica Jeal
The Turn of the Screw; BBC Proms 32, 35, 36 – review
Britten's The Turn of the Screw haunts Glyndebourne, while Steve Reich leads the applause at the Proms, writes Stephen Pritchard
The Turn of the Screw – review
A vocally strong revival of Britten's chamber opera makes a strong sexual interpretation, writes Martin Kettle
Rusalka – review
Musically, you can't fault it. But Still's much-admired theatrical magic didn't, on this occasion, exert so strong a pull as it seemed to have done two years ago, writes Tim Ashley
Rinaldo – review
Robert Carsen's school-set adaptation of the Handel opera is entertaining, if glib, writes Tim Ashley
L’elisir d’amore – review
It is the warmth of the show that lingers more than the laughs, though that's not to say it isn't funny, writes Erica Jeal
Die Meistersinger von Nürnberg/ Don Giovanni; Ariodante – review
Revolution is in the air in David McVicar's post-Napoleonic updating of Wagner's Renaissance epic, writes Fiona Maddocks
Don Giovanni – review
The vocally excellent cast provide secure and flamboyant accounts of every number and raise this revival above the original, says George Hall
Die Meistersinger von Nürnberg – review
David McVicar's production wears its politics lightly, writes Tim Ashley
The Coronation of Poppea – review
Monteverdi left The Coronation of Poppea in short score, and Jonathan Cohen, in this autumn Glyndebourne tour, revels in the stripped-down orchestration with his 15-strong band, writes Martin Kettle
Don Giovanni – review
This Glyndebourne on Tour production of Don Giovanni could do with a bit more light, both emotionally and on stage. But it's strong stuff, finely delivered by an often first-rate cast, writes Tim Ashley
La Cenerentola
Glyndebourne, LewesThe evening's star turn, in Peter Hall's production of Rossini's version of the Cinderella story, is Jonathan Veira's brilliant Don Magnifico, writes George Hall
Britten: Peter Grimes
Alongside the outstanding CD versions of Peter Grimes, this Glyndebourne recording doesn't begin to compete, writes Andrew Clements
The Rake’s Progress; BBC Prom 35; Three Choirs festival
David Hockney's designs and a fine young cast make light work of The Rake's Progress, writes Fiona Maddocks
The Rake’s Progress
GlyndebourneThe brothel scene seems a bit tepid when compared with more recent stagings, but the performances are exceptionally strong, writes Tim Ashley
Hansel and Gretel
GlyndebourneLaurent Pelly's Brecht-tinged reworking of the fable stuck two fingers up at the affluent audience, says Tim Ashley
Dvorák: Rusalka
This live recording from Glyndebourne last year is not overwhelming in the way that most who saw it in the theatre considered it to be, writes Tim Ashley
Don Giovanni
Glyndebourne Opera HouseA lack of dramatic spark turns this production of Don Giovanni into an evening of bland neutrality, writes Andrew Clements
Macbeth, The Love for Three Oranges, Armida, A Midsummer Night’s Dream
A brazen Macbeth, with a girl gang of witches, casts a powerful spell at Glyndebourne, writes Fiona Maddocks
Macbeth
Glyndebourne, SussexThe brilliance of this staging of Verdi's innovative opera is to summon humdrum images then transmute them into something shocking, writes George Hall
Billy Budd and Mahler’s Symphony No 3
An electrifying, passionate interpretation of Billy Budd bodes well for the Glyndebourne year, says Fiona Madocks
Cosí Fan Tutte
Glyndebourne Sally Matthews's earnest Fiordiligi and Barbara Senator's happy-go-lucky Dorabella meet all vocal challenges head on, writes George Hall
Billy Budd
GlyndebourneStrange choices can't sink Britten's claustrophic masterpiece, writes Andrew Clements
Knight Crew
The latest offering from Glyndebourne's community opera programme, Knight Crew brings Arthurian legend to a contemporary canalside gangland, writes Guy Dammann
Messiah; Falstaff From Glyndebourne
Deborah Warner puts the mundane into the Messiah to mystifying effect, and Glyndebourne at the pictures is no picnic, writes Fiona Maddocks
Così Fan Tutte
Glyndebourne: A revival of Nicholas Hytner's production saw a pair of remarkable performances in the roles of Alfonso and Despina, writes Tim Ashley
Tristan und Isolde and The Ring/ Mariinsky Opera
While Glyndebourne offers white-hot Wagner, Mariinsky Opera leave you wanting less, says Fiona Maddocks
Tristan und Isolde
GlyndebourneAnja Kampe's luminous prescence just about carries the show in this uneven performance, writes Andrew Clements
BBC Proms 12, 14, 15, 16 and L’elisir d’amore
Just as the Proms were in danger of being stifled by themed concerts, Andris Nelsons lifted his baton, says Fiona Maddocks
L’Elisir d’Amore
GlyndebourneWonderful observations of gossipy village life and erotic chaos make this Donizetti revival a triumph, writes Tim Ashley