LSO/Gergiev – review
Gergiev's understanding of the Stravinsky score's ratchet-like intensity was sympathetic and acute, writes Tim Ashley
Falstaff – review
Robert Carsen has a musical grasp of this ROH Falstaff, and he understands that Verdi's work is more than a romp, writes Martin Kettle
Strauss: Friedenstag – review
Joseph Keilberth was one of the great Strauss conductor but this is no masterpiece and the cast try your patience, writes Tim Ashley
Heggie: Dead Man Walking – review
Sensational though the recording is, I wonder whether listening at home is the right way to experience this moving opera, writes Tim Ashley
Juan Diego Flórez – review
It took Flórez a couple of items to find his most confident form, but thereafter he showed why he is among today's greatest performing artists, writes George Hall
Einstein on the Beach – review
The belated UK premiere of Philip Glass's Einstein showed that for all its historical importance, it seems rather old-fashioned now, writes Andrew Clements
Damon Albarn: Dr Dee – review
Damon Albarn's latest concept album concerns Elizabethan mathematician/philosopher John Dee; the story's pretty opaque, but the music's great, writes Robin Denselow
La Bohème – review
John Copley's 1974 production of La Bohéme still stands the test of time, and if anything seems more radical today, writes Tim Ashley
The Flying Dutchman – review
Kent's production is emotive and hard-hitting, while Gardner shows himself to be a natural and exciting Wagnerian, writes Tim Ashley
The Importance of Being Earnest – review
Gerald Barry's operatic version doesn't so much sidestep the question of adaptation as trample it underfoot, writes Andrew Clements
Mazzocchi: La Catena d’Adone – review
Scherzi Musicali have worked hard to master this early opera, even if its significance seems more historical than musical, writes Andrew Clements
OperaShots – review
Graham Fitkin's Home is perhaps the most accomplished piece featured in the OperaShots series to date, writes George Hall
Der Freischütz – review
Davis wonderfully sustains the oppressive atmosphere, so that when the powers of darkness are defeated, we feel we are in a better world, writes Tim Ashley
La Fille du Régiment – review
Ann Widdecombe's skills as a stage performer are nonexistent; she doesn't fall into the orchestra pit – but it's an embarrassment at any level, writes George Hall
Don Giovanni – review
Don Giovanni's sexual psychology translates well to a gay setting, but swapping gender is easier than swapping vocal register, writes Guy Dammann
Jakob Lenz – review
Andrew Shore shines as the eponymous hero, but this ultimately feels uninvolving and slight, writes Andrew Clements
Il Pastor Fido – review
Handel's supposedly problematic opera came good under David Bates, immaculately sung and free of self-indulgence, writes Tim Ashley
Vaccaj: La Sposa di Messina – review
The appearance on disc of this opera about sibling incest is important in itself and its momentum makes it compelling, writes Tim Ashley
Rigoletto – review
John Eliot Gardiner's rare appearance in the Covent Garden pit combines with some powerful principal performances, writes George Hall
I Quattro Rusteghi – review
It's beautifully done, though there are some uncertainties of tone in Bernard Rozet's modern-dress semi-staging, writes Tim Ashley
Parsifal – review
Conductor and orchestra were fabulous, but key singing personnel weren't on form, writes Andrew Clements
I Dreamed a Dream – review
When Susan Boyle eventually steps on stage at the end of I Dreamed a Dream, she inevitably succeeds in upstaging herself, writes Alfred Hickling
Life Is a Dream – review
Staged in a sprawling factory, Jonathan Dove's reworking of a Spanish Golden Age play is impossible to follow, writes Andrew Clements
Circus Tricks – review
A game cast and orchestra cannot save this lamentable circus-set tale, writes George Hall
The Rake’s Progress – review
Stravinsky's acerbic parable about money and corruption is rendered with stylised cool and some simply overwhelming moments, writes Tim Ashley
Miss Fortune – review
Inside Royal Opera's overblown production of Judith Weir's opera is a subtler one trying to get out, says Fiona Maddocks
King Arthur – review
Philip Pickett produced vivid tone painting everywhere in this production of King Arthur, from the sensuous ripple that accompanied bathing sirens, to the violent rasps punctuating a pagan sacrifice, writes Alfred Hickling
Miss Fortune – review
Weir's knack of making simple musical ideas appear freshly mysterious seems to have deserted her, writes Andrew Clements
Natalie Dessay – review
A glamorous figure, Natalie Dessay used her arms, hands and even fingers to define each song as a small dramatic portrayal in itself, writes George Hall
The Turn of the Screw – review
Northern Ireland Opera's production of The Turn of the Screw is, on the whole, a clear and thoroughly effective staging. There's a real buzz to this company, writes Andrew Clements
Tristan und Isolde – review
The familiar Andris Nelsons trademarks were all in evidence, without ever becoming an end in themselves, writes Andrew Clements
John Cage’s Musicircus – review
Chess grandmasters, toy pianos and Led Zep – Cage's chaos is sublime, writes John Lewis
Rusalka – review
A few outstanding performances save Dvořák's finest opera from what is otherwise an unedifying exercise in postmodern operatic grunge, writes Andrew Clements
Le Nozze di Figaro – review
This 1930s-set version - musically fine though it is – mistrusts Mozart's mastery, writes Rian Evans
The Death of Klinghoffer – review
ENO's new production of John Adams's controversial opera underlines its musical worth and its timeless seriousness, writes Andrew Clements