The week in classical: Wexford Festival Opera: Le convenienze ed inconvenienze teatrali; The Critic and more

This most friendly of festivals revives a disaster-fuelled Donizetti caper and another backstage comedy with name-that-tune moments. Plus, a witty new opera from Colm Tóibín

The week in classical: Trouble in Tahiti + A Quiet Place; The Turn of the Screw; Sinfonia of London/Wilson – review

Total commitment carries Bernstein’s uneven suburban double bill; ignore the added subtext and savour ENO’s musically outstanding Turn of the Screw; and Rachmaninov as you’ve never heard him…

The Turn of the Screw review – creepy and challenging, ENO’s new Britten staging is an ambiguous triumph

Isabella Bywater’s intelligent and demanding production injects fresh menace into Henry James’s tale of a ghosts and dark histories

The week in classical: Fidelio; Messiaen: Vingt Regards; Spinifex Gum – review

Standout performances counter all the horsing around in Tobias Kratzer’s take on Beethoven; Reinis Zariņš dazzles in one of the great piano epics; and the young Australians with plenty to sing about

La Traviata review – perfectly pitched staging with Verzier and Federici breathtaking

Tom Cairns’s naturalistic production of Verdi’s tragedy is revived for the autumn season with Elisa Verzier’s Violetta and Christian Federici’s Germont standouts

Trouble in Tahiti/A Quiet Place review – strong performances but Bernstein’s uneven pairing makes for a long evening

Henry Neill and Wallis Giunta captivate as the miserable married couple of Bernstein’s unsettling 1952 opera, but even clear orchestration, sumptuous vocals and compelling acting can’t make the later A Quiet Place a convincing work

Fidelio review – Kratzer’s iconoclastic take turns Beethoven into something it’s not

Directorial tweaks weaken the opera’s fervour and idealism, but Jennifer Davis’s Leonore and Christina Gansch’s Marzelline both impressed and in the pit, Alexander Soddy keeps things brisk

The Snowmaiden review – crystalline singing brings elemental folktale to life

Ffion Edwards plays the daughter of Spring Beauty and Grandfather Frost in English Touring Opera’s ambitious staging of Rimsky-Korsakov’s time-stopping romance

The Magic Flute review – Opera North inject colour into Mozart’s black-and-white world

Expert casting and striking design bring out the opera’s sense of fun, helped by the magnetism of the two female leads

Suor Angelica review – Puccini’s maternal tragedy gets a haunting modern update

A Magdalene laundry in 1960s Ireland is the setting for ENO’s semi-staged production, which conveys quiet anger and deep sadness

The week in classical: Eugene Onegin; Cavalleria rusticana; The Acts of Brízida Vaz/You Can’t Kill the Spirit– review

An experimental staging of Tchaikovsky’s opera brings fresh ideas and a few misses, ambitious community opera thrives in south London and a Cornish company goes nuclear

La bohème review – ENO celebrate Puccini centenary with compelling new talent

Jonathan Miller’s 2009 staging opens English National Opera’s season with Nadine Benjamin an affecting Mimì and conductor Clelia Cafiero, making an impressive UK debut

Eugene Onegin review – stripped back staging is compelling and probing

Ted Huffman’s unfussy new production of Tchaikovsky’s opera is detailed and insightful. Kristina Mkhitaryan’s Tatyana is a particular highlight among a strong cast

Rigoletto review – dark and daring take on Verdi’s depraved tale

With the Welsh National Opera on the ropes from funding cuts this is a defiantly non-safe staging with a fine cast and the orchestra and chorus on exceptionally strong form

The week in classical: Eugene Onegin; Last Night of the Proms; Mahler: Symphony No 2 ‘Resurrection’ – review

Plucky Northern Ireland Opera triumphs with elegant, homegrown Tchaikovsky; Stephen Hough and Angel Blue rise above the pomp; and biblical car park Mahler