OperaShots – review

Graham Fitkin's Home is perhaps the most accomplished piece featured in the OperaShots series to date, writes George Hall

A Soldier and a Maker – review

The pacing is a little uneven, but Ivor Guney's remorseless mental disintegration is poignantly caught, 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

Norma – review

Bellini's definitive bel canto opera about a Druid priestess is brilliantly served by Christopher Aldren's rule-breaking new production, writes George Hall

Camille

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

Backbeat – review

Don't go to Backbeat expecting an evening of nonstop Beatles hits, says Kate Kellaway

Street Scene – review

It's impossible not to get swept away by Weill's passionate attempt to score the lives and tragedies of everyday people, writes Lyn Gardner

The Beggar’s Opera – review

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

Madama Butterfly – review

The production's straightforwardness has become its strength, and its ability to retain its crispness is shown by this excellent revival, writes Andrew Clements

Two Boys – review

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

The Damnation of Faust – review

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

A Magic Flute – review

Peter Brook's very personal take on Mozart's high point is a puzzling experience that never quite sparks, writes Andrew Clements

Kommilitonen! – review

Peter Maxwell Davies returns to opera with an extraordinary commission that is as good as any theatre score he has composed, writes Andrew Clements

The Mikado – review

Classic design, pacy staging, a vintage cast – Jonathan Miller's 25th anniversay revival is a masterpiece of dramatic mayhem, writes George Hall

Caribou – review

Caribou's introspective melodies jostled with climatic highs to lend the Empire the heady atmosphere of a festival dance tent, writes Betty Clarke

Parsifal – review

The remarkable power and conviction of Nikolaus Lehnhoff's disturbing Wagnerian world returns to London in triumph, writes Andrew Clements

Carmen – review

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

Kafka Fragments – review

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

Aureliano in Palmira – review

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

Radamisto

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

The Magic Flute

Millennium Centre, CardiffWelsh National Opera's surrealist take on Mozart's last opera is remarkably appealing despite some mixed performances, writes Rian Evans

Monteverdi’s Flying Circus

Bridge House, WarwickThe circus performers may be superfluous, but the astonishing music stands alone, writes Andrew Clements

Das Rheingold

The Metropolitan OperaNew YorkCirque du Soleil director Robert Lepage's first instalment of Wagner's Ring Cycle marries technical wizardry with glorious performances