Three stars for Renee Fleming at Festival Hall

It was a more compact display than her last London recital, but lustre there still was, and the gleam of star power

Wexford Festival and Glydebourne

While a lower-key Wexford Festival lost its way, a Cosi revival for Glyndebourne tour was clearly a hit

Wexford Festival

John Corigliano’s The Ghosts of Versailles was a whirling diorama of video projection, large chorus and dancers, with never a dull moment

The Italian Girl in Algiers

At times the show’s hyperactive burlesque diminishes the tenderness built into Rossini’s score

Domingo reinvents himself as a baritone

The 68-year-old opera star, one of the legendary Three Tenors, switches to singing a deeper role at the Berlin State Opera

The Turn of the Screw

It was already the most chilling show in town but ENO’s revival of McVicar’s 2007 production turns the screw even tighter

An audience with Renée Fleming

She is America’s most-loved opera star, but she doesn’t play the grande dame offstage. She talks about the secret of success

Porgy and Bess

Cape Town Opera’s version of the Gershwin classic is full of gaiety and passion, with all the soulfulness of Soweto

Flavio/Teseo/Tolomeo

Everything is lean, mean and businesslike, but the dramatic tension never sags. In seven hours of Baroque opera, that’s some achievement

Three stars for Falstaff at Glyndebourne, East Sussex

Jonathan Veira is the classiest performer; the rest are a solid, not scintillating bunch

The Excusions of Mr Broucek and Turandot

Hugh Canning applauds the lively revival of Janacek’s Mr Broucek, but laments ENO’s superficial Turandot is marred by superficiality

Italian job puts the soap into opera

A stage full of bunny girls, Space Hoppers and high-tech green-screen effects? It’s Rossini, of course

Cape Town Opera's Porgy and Bess

The only opera company in South Africa is on the road to Britain with a Porgy and Bess set in the depths of apartheid

Così fan tutte

Look out Woking, Stoke, Norwich, Milton Keynes and Plymouth — Glyndebourne’s powerful Don Alfonso is on his way to you

Dido and Aeneas

The eloquent body language of Warner’s production fused intensely with the muscle of Purcell’s musical language

The Adventures of Mr Broucek

John Graham-Hall’s Basil Fawlty of a Broucek is a subtly brilliant performance: disgust, scorn, cowardice

Mysteries abound in a new work to savour

The passionate premiere of Colin Matthews’s Violin Concerto impressed a rapt Paul Driver

Knock me down with a feather

Hugh Canning is blown away by the first part of a daring Dutch Ring cycle on a budget

John Graham-Hall on playing the bad guy

Being ‘evil or absurd’ is much more fun for a singer, John Graham-Hall says as he prepares for The Adventures of Mr Broucek

Turandot

This isn’t a show that will be accused of subtlety with its garishness, but it does tackle the opera’s crucial problem