Katya Kabanova review – Romaniw soars in cogent take on Janáček’s tragedy

Natalya Romaniw is touching as the heroine trapped in a loveless marriage, while Susan Bullock is chilling as her monstrous mother-in-law in David Alden’s staging

Il Trittico review – an eloquent, gutsy outpouring of Puccini’s passion and pain

Welsh National Opera pull no emotional punches in this production of David McVicar’s staging of Puccini’s variously suspenseful, tragic and comic triptych

The week in classical: The Merry Widow; Aldeburgh festival – review

Thomas Allen steals a witty, sparkling new production of Léhar’s masterpiece, and a cosmic world premiere from Judith Weir lives up to her star billing

The Merry Widow review – De Niese and Olvera are compelling, but camp fun stifles subtlety

Double entendres, extra dialogue and sight gags ensure that Cal McCrystal’s new staging entertains, but it’s at the expense of emotional power. In the pit, John Wilson is superlative, likewise Germán Olvera’s charismatic Danilo

L’Incoronazione di Poppea review – sexting, dope and toxic masculinity in Monteverdi update

Director Walter Sutcliffe’s modern-day production of Monteverdi’s take on Emperor Nero scores some hits but as many misses. Musically, though, it is outstanding

Blond Eckbert review – Judith Weir’s bare-bones opera kicks off Aldeburgh festival

Despite excellent performances from the singers and chamber ensemble, this stripped-back version of the folkloric opera failed to convey the horror of its story

The week in classical: Andrea Chénier; The Barber of Seville review – brio and ballistic B-flats

Antonio Pappano bows out with a blazing performance of Giordano’s red-blooded opera, while a fine cast brings out the vitality of Rossini’s classic in spite of the weather

The Barber of Seville review – Rossini’s opera gets a British Victoriana makeover

Cecilia Stinton injects a whiff of EM Forster’s A Room With a View to the comic masterpiece’s well-worn plot

The week in classical: Platée; Tosca review – a reality TV winner and shades of Callas

Breathless action and Rameau’s fizzing score ignite in Louisa Muller’s ingenious take on French baroque, while Stephen Barlow’s 60s-set Puccini sparkles in a long-overdue revival

Andrea Chénier review – Pappano ends on a high with this sensational, thrilling revival

David McVicar’s 2015 staging of Giordano’s French Revolution opera is the final production of Antonio Pappano’s tenure as music director of the Royal Opera. With leads Jonas Kaufmann and Sondra Radvanovsky, it is an exciting, affecting evening

Platée review – from fever dream to farrago as Rameau meets reality TV

The Only Way is Ancient Rome in this retelling of Rameau’s 1745 opera with Samuel Boden captivating in the title role

The Very Last Green Thing review – youth opera gives voice to environmental anxiety

Weston Studio, WMC, CardiffAs the Welsh National Youth Opera’s 10 to 18-year-olds update Cary John Franklin’s opera it is clear its message remains all too necessary three decades on

The week in classical: Carmen; Celebrating 22 Years of Antonio Pappano – review

Glyndebourne hits 90 with Bizet’s sultry crowd-pleaser. Elsewhere, a starry farewell to a much loved maestro, and the fight to save Welsh National Opera

States of Innocence review – ambitious Milton opera leaves us in the dark

Ed Hughes and Peter Cant’s chamber opera meditates on literature, aesthetics and theology and boasts John Tomlinson as Milton. But this opera of ideas doesn’t allow us to make out the actual ideas

The week in classical: Riot Symphony; L’Olimpiade; LSO/Tilson Thomas review – humanity and hope

Pussy Riot and a young anti-Nazi protester inspire an exhilarating world premiere; an offstage stand-in steals the show in Irish National Opera’s latest elegant Vivaldi; and the LSO rallies around a much-loved conductor