The week in classical: Mary, Queen of Scots; Academy Symphony Orchestra/ Wilson; James MacMillan: Ordo Virtutum – review

ENO’s forces excel in a mere two performances of Thea Musgrave’s turbulent, rarely seen 1977 opera

The Makropulos Affair review – immaculately paced and gripping opera storytelling

Olivia Fuchs’ production of Janáček’s opera is a remarkable achievement, with Orla Boylan’s riveting performance at its heart. In the pit, Martyn Brabbins is superb

Der Ring des Nibelungen review – less is more in Regents Opera’s whittled-down Wagner

With a handful of musicians playing a skilfully reduced score and a minimal staging by Caroline Staunton, this Ring cycle is an intense and involving experience

Mary, Queen of Scots review – trouser suits and relentless tension in Musgrave’s bleak opera

Thea Musgrave’s 1977 account of the persecuted queen has been reimagined in terms of 20th century sectarianism in Stewart Laing’s production. It is sung and acted with blazing conviction by English National Opera

The week in classical: Festen; Das Rheingold review – a dark, jubilant, five-star Turnage triumph

Daring, lyrical and brilliantly achieved, Mark-Anthony Turnage’s new opera is his best work yet. Plus, knockout Wagner on a shoestring

The Magic Flute review – humour, colour and plenty of drama in Opera North’s kooky take

A lively revival of James Brining’s occasionally enigmatic staging sees Soraya Mafi make an exceptional role debut as a tenacious and principled Pamina

Festen review – Turnage’s taut new opera grips, appals and moves

Mark-Anthony Turnage’s varied musical palette, Lee Hall’s unfussy libretto and Richard Jones’s focused staging of the tragedy of a family deeply scarred by abuse drives the drama inexorably in a remarkable production

The week in classical: The Flying Dutchman; LSO/ Harding, Trifonov; The Marriage of Figaro – review

As funding cuts start to bite, Opera North’s forces pull together in an asylum-themed take on Wagner

The Marriage of Figaro review – WNO’s staging has punch and plenty to savour

The 2016 production – revived by Max Hoehn – emphasises the farcical rather than subversive aspects of Mozart’s opera. It took a while to settle down, with conductor Kerem Hasan setting a frenetic pace

The Marriage of Figaro review – Mozart as hotel farce is sparky but scrappy

Joe Hill-Gibbins’ stylish 2020 staging finally gets a full run, with Nardus Williams in glorious voice as the Countess matched by a strong cast

The Flying Dutchman review – Opera North production draws small boats into Wagner’s tale

Annabel Arden’s introduction of refugees is thought-provoking and moving, while seasoned performances keep the metaphorical ships on course

The week in classical: Aida; Chineke!; Paddington Trio – review

The Royal Opera Chorus steals the show in a revival of Robert Carsen’s solemn take on Verdi; Chineke! celebrate 10 years of change-making. Plus, a great young string trio who live every note

Aida review – parades and totalitarianism rather than pyramids and triumphal marches

Royal Opera House, LondonRobert Carsen’s abstract 2022 production of Verdi’s controversial opera has no trace of its Egyptian setting which brings a schism between staging and score

Jenůfa review – this opera is in Hrůša’s DNA, his account is not to be missed

The Royal Opera’s incoming music director conducts a performance of rare intensity and authority, with Corrine Winters and Karita Mattila compelling in the two central roles

Hansel and Gretel review – manic energy and festive roars of fury keep kids enrapt

Conductor Giedrė Šlekytė makes a promising UK debut with Humperdinck’s luxuriant score but there isn’t much space for adult enchantment