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YOU WONT BELIEVE: Opera holland park org - You Need To See This

La fanciulla del West: An opera seen through a haze of cowboy stereotypes

3/5 Puccini’s work set in the Gold Rush of California is a high risk opening to Opera Holland Park’s season

Evening Standard

Lucia di Lammermoor at Opera Holland Park review: the chorus is stiff but the leads soar

3/5 Jennifer France negotiates Donizetti’s exorbitant vocal demands with a blend of control and fearlessness that is wholly persuasive

Evening Standard

The Merry Widow review – come for the big tunes, stay for the birthday cement mixer

John Savournin has huge fun transplanting Lehár’s fictional Balkan Neverland to mafioso Manhattan in a hyperactive production

The Guardian - UK

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The Flying Dutchman at Opera Holland Park review: ambitious and intense

3/5 This retelling of Wagner’s fourth opera is substantial, even if the staging doesn’t work at points

Evening Standard

Trial by Jury/A Matter of Misconduct! review – gags and Spads in Scottish Opera’s sparkling double bill

Gilbert and Sullivan’s 150-year-old comic opera gets a lively update, while there is plenty of fun to be had at the expense of politicians in Toby Hessian’s pacy new operetta

The Guardian - UK

Acis and Galatea review – a hectic take on Handel’s perfectly formed confection

The pared down City of London Sinfonia are exquisite and the main singers splendid – although the overworked ensemble hop around, draining the work of sincerity

The Guardian - UK

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 Guardian - UK

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Birmingham Royal Ballet: Black Sabbath – The Ballet; English National Ballet: Our Voices – review

The fathers of heavy metal have gained at least one new fan thanks to an inspired new Carlos Acosta commission. And the music’s the star in the English National Ballet ambitious new mixed bill

The Guardian - UK

Ruddigore review – straight staging maroons G&S’s silly satire in the Victorian age

It’s a stretch to make this slight 19th-century satire speak to a modern audience, and tremendous singing is not enough to make it do so here

The Guardian - UK

La Bohème review – fine performances but Puccini is swamped by busy staging

Although musically very strong and with Katie Bird a lovely Mimi, Natascha Metherell’s relocation of Puccini’s bohemians to a 1950s film studio brings as many distractions as it does insights

The Guardian - UK

Rigoletto review – Verdi’s jester locks horns with the Bullingdon Club

In an engaging but problematic staging, the Duke’s court is relocated to interwar Oxford, with Alison Langer’s beautifully sung Gilda a standout

The Guardian - UK

Little Women review – classic tale struggles for momentum on opera stage

Although conducted with energy by Sian Edwards and performed by a strong cast, Mark Adamo’s opera – here receiving its UK premiere – doesn’t fully cohere into a narrative reality

The Guardian - UK

Little Women at Opera Holland Park review: Economical yet intricate

A talented cast shine in this approchable adaption of Alcott’s classic novel

Evening Standard

Margot la Rouge/Le Villi review – Puccini and Delius rarities create double bill with daddy issues

Puccini’s first opera proves heady and entertaining in Martin Lloyd-Evans’ staging; singing the lead role in this and Delius’s Margot La Rouge, Anne Sophie Duprels impresses alongside a strong supporting cast

The Guardian - UK

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The Guardian - UK

The week in classical: Parsifal; Eugene Onegin; Scriabin: Poems of Ecstasy and Fire

Opera North’s new Wagner production is one to remember; OHP take on Tchaikovsky’s perfect opera; and Bold Tendencies go to town with Scriabin’s synaesthesia

The Guardian - UK

Eugene Onegin review – much love and passion to admire in uneven new staging

The two superb male leads – Samuel Dale Johnson and Thomas Atkins – bring charisma and insights to Tchaikovsky’s opera although Julia Burbach’s production feels wayward at times

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