Catherine Wyn-Rogers

Positioned between opera and theatre, this powerfully accessible interpretation of Handel’s seminal work explores the drama and struggle of faith, showing a bereaved community whose grief at the loss of their leader is transformed into hope through a narrative of resurrection. Inspired by early performances of the work, which were staged in theatres and concert halls rather than churches, including its first performance at Bristol Old Vic in 1782, it is a rare treat for connoisseurs and enthusiasts alike.

Richard Wagner's dream of a Gesamkuntswerk becomes reality through La Fura dels Baus' visual fantasy and blending of video technology, lighting and props (often formed of human beings): Their 30 computer projections and organic structures built of athletic performers that recall Cirque du Soleil are predestined for Wagner's visionary expressive world.

Richard Wagner's dream of a Gesamkuntswerk becomes reality through La Fura dels Baus' visual fantasy and blending of video technology, lighting and props (often formed of human beings): Their 30 computer projections and organic structures built of athletic performers that recall Cirque du Soleil are predestined for Wagner's visionary expressive world.

Sarah Connolly's 'outstanding' (The Guardian) portrayal of the wronged Roman noblewoman, written originally for Kathleen Ferrier, lies at the hear of David McVicar's powerfully stark production for English National Opera as 'an everyday sort of woman who could be living at any time or place'. Her nemesis is the arrogant Tarquinius of Christopher Maltman, 'who made the air tingle with danger' (Financial Times). Sung in English.

Tim Albery's Olivier-nominated production for The Royal Opera delves deep into the psychology of Wagner's cursed wanderer and his beloved Senta, detailing the monomania and uncompromising idealism that finally drives them apart. Michael Levine's elemental single set is dominated by a rolling metal hull that represents the Dutchman's phantom ship, the poverty of Senta's home and the treacherous sea.

The Italian and international press were unanimous in their praise for "Peter Grimes" at La Scala, which revived the tradition of Britten's operas on the lyric stages of Italy. A top British cast was marshaled by the baton of Robin Ticciati. Richard Jones's production focuses on the fisherman as the outside in a brutal and brutalized 1980s society, cut off by mutual suspicion and misunderstanding: an unforgettable production of a 20th-century operatic masterpiece that never loses its power. Filmed in High Definition and recorded in true Surround Sound.

An open-air staging by Aldeburgh Music of Benjamin Britten's Peter Grimes, on the beach that inspired the opera. A small seaside community struggles to accept a fisherman.

Based on a poem published in 1810 with more ethnographic than dramatic focus, Britten constructed a sombre parable about the conflict between the masses and the individual. The maritime atmosphere, the crudity of people’s lives and passions, and the complex, impenetrable personality of the protagonist come together in a tragedy which ferments and explodes in the din of silence and hearsay. New production of the Teatro Real, in co-production with the Royal Opera House Covent Garden of London, the Opéra national of Paris and the Teatro dell’Opera of Rome

Moses und Aron is a three-act opera by Arnold Schoenberg with the third act unfinished. The 2015 Production was led by Romeo Castellucci in Paris. Moses und Aron was filmed for television by film director François-René Martin, in co-production with the Paris Opera, Bel air Media and Arte, with support from the CNC.

A magic potion becomes both a blessing and a curse for two young people. Tristan is about to bring the Irish princess Iseult to Cornwall where she is to marry his uncle. A love potion has been prepared to get the arranged marriage off to a happy start. But when Iseult’s chambermaid pours it into the goblets of her mistress and the Cornish knight, they cannot hide their feelings, even if their love means treason to the crown. Sweet compassion instead of ecstatic love: Frank Martin’s Le vin herbé offers a new interpretation of the tale of Tristan and Iseult, which goes beyond Wagnerian pathos. Tom Randle and Caitlin Hulcup embody the fatal lovers in this production by Welsh National Opera.