Nicholas Kenyon

Richard Jones's entertaining, Oliver Award-winning 2022 production of Handel's Alcina returns to the Royal Opera, even livelier than before.

With its brave double bill of Bluebeard’s Castle and Oedipus Rex, WNO shows a sense of adventure amid its straitened circumstances

For an evening of unremitting gloom that leaves one pessimistic about the human condition, a double bill of Bartók's one-act opera Bluebeard's

Land of Hope and Glory still resounds at the Last Night of the Proms and at countless patriotic occasions: it's the anthem of a nation, and all attempts to dislodge it have failed.

The singing is splendid but the seemingly clever idea to shift the action to the late 20th century doesn’t quite land

Masterpieces can withstand all kinds of interference, and Tchaikovsky's magnificent romantic music-drama about the troubled relationship between Tatyana Larina and Eugene Onegin, their initially one-sided love and ultimate separation, is more resilient than many. Opera North's new production by Patrick Nolan transposes the tortured story from 19th-century Russia to the years before and after Gorbachev's perestroika programme in the 1980s and 1990s; but this doesn't quite work, and we are left with the human drama expressed in some splendid singing, and Tchaikovsky's unbeatably passionate music under Garry Walker's strong conducting.

George Robarts’s snappy English translation and Iwan Davies’s crisp conducting power ETO’s original take on a timeless story

Gluck's great opera of 1762 tells the story of Orpheus's search in the underworld for his lost love, Eurydice.

First seen in 2022, Femi Elufowoju Jr's account of the jester Rigoletto's oppression by the Duke of Mantua gives Verdi's opera a fiercely contemporary edge.

This is Turandot as we've never seen before. In Puccini's last, unfinished opera of 1926, the ice-cold heart of Princess Turandot – who avoids love