Bellini's definitive bel canto opera about a Druid priestess is brilliantly served by Christopher Aldren's rule-breaking new production, writes George Hall
The Hayes Concerto is a beautifully wrought piece, with long, expressive lines punctuated by fierce collisions, and underpinned with a clear tonal scheme, writes Andrew Clements
A multitude of characters crosses the stage in Camille Dalmais's live show, each with its own distinctive vocal timbre and vivid physical presence, writes Maddy Costa
The emphasis in this delightful production lies in recreating 18th-century London low-life – the taverns and brothels teem with Hogarthian vigour, writes Michael Billington
The production's straightforwardness has become its strength, and its ability to retain its crispness is shown by this excellent revival, writes Andrew Clements
Nico Muhly's first opera has its origins in a true story about teenage chatrooms and internet role play, with a woman detective investigating a murder. But, as presented in Craig Lucas's libretto, Two Boys seems far removed from any kind of hard-edged reality, writes Andrew Clements
It seems perverse to invite Terry Gilliam to cut his teeth as an opera director on a work that isn't really an opera. But Berlioz's recasting of the Faust legend allows a maverick creativity like Gilliam's the freedom to flourish, refracting the story through German history and culture from the 19th century to the Third Reich, writes Andrew Clements
Be warned, this is Daniel Kramer's Carmen, not Bizet's: a version of the work, rather than an interpretation, it plays fast and loose with narrative and score, writes Tim Ashley
The songcycle György Kurtág created from settings of tiny extracts from Franz Kafka's letters and diaries adds up to far more than the sum of its minuscule parts, writes Andrew Clements
Performance-wise, this Aureliano in Palmira was spectacular, and the star turn came from Silvia Tro Santafé as Arsace, technically impeccable and generous of tone, writes Tim Ashley
Venezuela's Teresa Carreño Youth Orchestra and the English piano prodigy Benjamin Grosvenor prove that age and experience aren't everything, writes Fiona Maddocks
This production of Handel's opera set in fantasy-style Asia Minor at the beginning of the first millennium is ENO at its best again, writes Andrew Clements
Millennium Centre, CardiffWelsh National Opera's surrealist take on Mozart's last opera is remarkably appealing despite some mixed performances, writes Rian Evans
The Metropolitan OperaNew YorkCirque du Soleil director Robert Lepage's first instalment of Wagner's Ring Cycle marries technical wizardry with glorious performances