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

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

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

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

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

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