Le Nozze di Figaro – review
This Figaro was all very pleasant but just a bit bland, and neither sexy nor dark enough, writes Andrew Clements
The Cunning Little Vixen; L’Olimpiade – review
Glyndebourne's season-opener has its chaotic moments but the music is ravishing, writes Fiona Maddocks
La Cenerentola – review
Lynne Hockney's revival is a knockout, with Elizabeth DeShong producing one of the great operatic performances in the tile role, writes Tim Ashley
The Cunning Little Vixen – review
A lack of clear thinking taints the production and performances in a hugely disappointing take on the Janáček opera, writes Andrew Clements
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
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