Billy Budd – review
Reshuffled casting puts new wind in the sails of Michael Grandage's outstanding Britten production, writes George Hall
Don Pasquale; BBC Proms 6 & 8 – review
In the title role, Alessandro Corbelli excels in a production of Don Pasquale that searches for its humanity, writes Kate Kellaway
Don Pasquale – review
Don Pasquale can be cruel, but Mariame Clément's production allows for a few guilty laughs, writes Erica Jeal
Michelangelo Sonnets; Hippolyte et Aricie – review
A disused Wesleyan hall proves the perfect venue for Peter Sellars's atmospheric staging of Michelangelo Sonnets, writes Fiona Maddocks
Le Nozze di Figaro – review
Ian Rutherford's beautifully sung and acted revival benefits from sharp gains in directorial focus and some electric LPO playing, writes Tim Ashley
Lohengrin; Ariadne auf Naxos; La Donna del Lago – review
Wagner's detractors were drowned out on his 200th birthday by the fanfares of the WNO, writes Fiona Maddocks
Falstaff – review
Everything is beautifully observed in Sarah Fahie's revival, and musically it unfolds naturally … a joyous evening, writes Andrew Clements
Ariadne auf Naxos – review
A misguided production of Strauss's opera about opera proves as damaged as its characters, writes Tim Ashley
Imago – review
Orlando Gough's opera explores a world of virtual cyberdanger with inventive, characterful and pacy singing, writes George Hall
The Yellow Sofa – review
There's a bit too much mugging comedy, but the skill of Julian Philips's writing came across well in this revival, writes George Hall
Le Nozze di Figaro – review
The politics of Mozart's original may have been lost in this update to the 1970s, but the results are both funny and touching, writes Tim Ashley
Rusalka – review
When the direction turns to Rusalka's doomed relationship with her handsome prince, the drama comes into sharper focus, writes George Hall
L’heure espagnole/L’enfant et les sortilèges; BBC Prom 33 – review
Glyndebourne's Ravel double bill dazzles, while at the Proms, James MacMillian creates a buzz, writes Fiona Maddocks
Ravel Double Bill – review
Performing Ravel's one-act operas together can be tricky, but Laurent Pelly is magical in L'Enfant et les Sortilèges, writes Tim Ashley
The Fairy Queen – review
A wealth of imagination and wit makes this potentially tricky, multi-part "semi-opera" a roaring success, writes George Hall