The Force of Destiny, London Coliseum ***

Calixto Bieito has returned to the English National Opera to direct Verdi's truly epic opera of love and war. The scale of the piece ranges from the personal to the large scale war scenes which leaves quite an impact on the audience. Wigglesworth's interpretation of Verdi's score, as with Lady Macbeth, is dramatic, grand and rich. The overture is just wonderful to listen to. The singing too is world-class. Tamara Wilson is a revelation as Leonora whilst Gwyn Hughes Jones' Don Alvaro is also well constructed and strong. The piece could be stronger with a less ambiguous set design from Rebecca Ringst whose use of videos is not helpful to either plot or meaning whilst Bieito isn't always clear in showing the audience what is going on. This detracts somewhat from what is otherwise an evening showcasing extraordinary talent.

The Mikado, London Coliseum ****

Jonathan Miller's production of the Barber of Seville has aged badly but the same can't be said for his production of Gilbert and Sullivan's Mikado. Thanks to Stefanos Lazaridis' set design and Sue Blane's costumes, this production is bright and vibrant, keeping the light- hearted humour of G and S without falling into the more racist, stereotypical pitfalls of the jokes. Carol Grant and Anthony von Laast's choreography is delightful and comic whilst Marc Rosette's and Davy Cunningham's lighting makes the production look joyous. Richard Suart is  wonderfully kniving and sympathetic Ko-Ko, with a brilliantly topical little list including pig-gate and Top Gear and Anthony Gregory as Nanki- Poo is vocally excellent as well as comical. Mary Bevan's Yum-Yum feels effortless as does every performance in this cast. This is truly Gilbert and Sullivan at it's most fun.

La Bohème, London Coliseum **

La Bohème is by far and away the greatest opera in the world (in my opinion). It is romance, laughter and pure, raw emotion. What Benedict Andrews has interpreted it to be is verismo opera with hard drugs and having almost no sensitivity. He takes a metaphorical battering ram to Puccini's delicately crafted opera, creating possibly the worst interpretation this opera has seen. In Act One, Che Gelida Manina takes place whilst Rodolfo and Mimi are taking heroine, meaning that Mimi sings Mi Chiamamo Mimi whilst Rodolfo is practically unconscious. Act Two is a bustle and a confusion. This is always a difficult act to stage as there is so much going on (we have certainly been spoilt with the clarity of the Royal Opera's production) but Andrews really messes it up. The third act is the best of them as it strips back the chaos and is rather sweet and puts the music first. However, the final act is back to the apartment and the tragic denouement is almost completely lost (I did cry a bit, it is almost impossible not to). Xian Zhang's interpretation of the score is capable but doesn't quite capture the full life of Puccini's masterpiece. Corinne Winters is a marvellous Mimi, capturing her emotional range however Zach Borichevsky doesn't quite get around the character of Marcello and a voice crack at the high note of Che Gelida Manina doesn't make him appear to be any better in the role. Rhian Lois treats Musetta delicately and well, despite Victoria Behr trying to put her in a box and stereotyping her as a 'slut'. I take real opposition to directors and creatives who try to pigeon hole characters to a label and I am glad that Lois has created something greater than her creative team has envisaged for her part. The rest of the cast, whilst acceptable, are nothing to really remember and, whilst there are some redeeming features, it is hard to imagine La Bohème being treated any worse than the ENO have done here.

The Barber of Seville, London Coliseum ***

Jonathan Miller's production of the Rossinni classic comedy is almost 30 years old. Now in it's twelfth revival, the traditional and simple staging is looking dated. Unlike John Copley's Boheme, Tanya McCallin's design has no real punch or artistic impact. There is nothing dynamic or alive about the staging and is in dire need of revitalisation. And yet I left the Coliseum with a firm smile on my face. From the overture to the curtain call, Rossinni's music delights and entertains and, thanks to Christopher Allen's colourful and emotive conducting, provides a musically satisfying evening. This is helped by some extremely talented singers. Anyone who can sing this opera deserves high praise and for this group of singers to inject the energy they do is quite remarkable. Morgan Pearse's Figaro is playful and fun whilst Eleazar Rodriguez is a forlorn as the Count yet delivers hilarious accents whilst maintaining top musical standards. It is a rather large step for the audience to believe that he is the love of Lathryn Rudge's Rosina yet the magic of opera let you believe it for the duration. Rudge, however, steals the show. From Una voce poco fa, she gives a wit and a defiance to Rosina along with an incredible tone of voice. This is helped by Amanda and Anthony Holden's witty libretto which feels fresh and far from the stuffy operatic text we have come to expect. Andrew Shore is also notable as the antagonist Dr Bartolo whose fast tongue masters the tricky and fast paced score. The cast and music shine here in a production that needs to be put out of it's misery.

Lady Macbeth of Mtsensk, London Coliseum ****

Mark Wrigglesworth has brought an astonishing and fresh production of Shostakovich's controversial opera that shows the full strength of their orchestra and chorus. Right from the start, I was blown away by the sheer force and scale of these wonderful resources as this 'muddle' transforms into wonderful music about love, lust and, in Dmitri Tcherniakov's production, the divide between East and West. The traditional Russian house with rugs lining the walls juxtaposes the modern Western style office layout of the factory in Tcherniakov's design and this difference resonates strongly and demonstrates Katerina's isolation in this strange and different setting. The sex is raw and strong without being indecent or offensive which is helped by having a strong and vocally able female protagonist in Patricia Racette. The role is tricky and she navigates around the part fantastically and is both brave and ambitious yet devoted and emotionally engaged. The contrast between Peter Hoare's weak and disheveled Zinovy contrasts greatly to John Daszak's Sergei who is ferocious and strong. Your opinion of him changes the most throughout the narrative in a very un-operatic nature. However, the chorus steal the show in the few moments where they sing collectively. They have a force that is as great as Mastersingers and provide wonderful atmosphere. Whilst the music can occasionally be straining, this almost perfect musical rendition of Shostakovich's opera is a fantastic start to a promising new regime at the ENO.

The Pirates of Penzance, London Coliseum ****

My first Gilbert and Sullivan could not more different from the typical am-dram production but a Mike Leigh production at the ENO. The first thing to note is that I have never laughed so hard at the Coliseum. This satire on the British hierarchy takes the form of an operetta about a group of pirates who wreak havoc in Penzance (unless you're an orphan or weaker than them). The libretto pokes fun at the respect given to nobility and the useless nature of Britain's constabulary. It is clearly dated yet is still very amusing in its own way. The music is joyous and beautiful, with 'Poor Wand'ring One' being an aria that transcends the frivolous world in which this operetta is set and is sung stupendously by Claudia Boyle. She has the best part in the piece, with Mabel being the most obviously difficult yet effective role. Other parts such the policemen (Jonathan Lemalu) and Stanley (Andrew Shore) are extremely humorous whilst the Pirate King, played by Joshua Bloom, portrays a gentile nature and a gentleman. The ensemble are strong and other parts are similarly well sung. The spoken parts are well projected for the vast space of the Coliseum and the acting is surprisingly good for singers. The set is striking and effective whilst Leigh's direction captures the light-hearted humour. It is a family friendly introduction to opera and a marvellous afternoon at the theatre.

The Queen of Spades, London Coliseum ****

One of the most depressing things to see at any theatre production is to be in a half- empty performance. Therefore, it was disheartening to see Edward Gardner's last production as music director being played to a visibly empty coliseum. However, my spirits were quickly lifted by a sublime performance. The leads are some of the best performances I've seen. Hoare's Hermann captures both the characters devotion to Lisa and the addiction that eventually tears him away, although I found it hard to believe that Giselle Adam's Lisa would be prepared to risk her reputation for the love of a visibly damaged and disheveled human being portrayed by Peter Hoare. The night, however, belongs to Felicity Palmer who is utterly magnificent, hypnotic and any other superlatives you can think of. It is one of those historic performances that will live long in the memory. Her voice is so rich and powerful that it is impossible not to fall in love with it. Gardner brings out the rich emotion in Tchaikovsky's score and is well played by the orchestra. The chorus is also brilliant, as always. Alden's direction and Davey's designs provide some striking images and is an effective way of communicating the story. However, there are parts which seem to have been added purely as gimmicks in the hope of giving the production a strong identity which is unfortunate. Specifically, the use of animal heads and 'onesies' seems to have no other purpose than to give the audience something to remember. Despite this, I felt that this production was extremely successful due to the mighty Felicity Palmer that really steals the show.

Carmen, Colliseum ****

I was lucky enough to be invited to the dress rehearsal of Carmen in seats where you could actually see the emotions on the singers' faces. At times, Bizet's score feels like diluted Puccini but I can certainly see how this opera has become a masterpiece. Complex characters with a pretty simple plot, which is quite closely linked to musical theatre, means that it is great for anyone who wants to get an accessible taste of opera. Bieto's production is distinctly Spanish with a simple but evocative set that at one point is a border post and at another a bull ring. The lighting from Bruno Poet is genius that jump immediately from lighting a huge crowd to a single spotlight on Leigh Melrose's Escamillo. Performances are brilliant all round. Justina Gringyte's Carmen is superbly sung, capturing the vulnerability in what could be a hard, unsympathetic role. Eric Cutler is wonderful in building up Don Jose's love for Carmen so when things turn psycho, you still root for him. The chorus is typically brilliant to create another extremely strong ENO production.

Between Worlds, Barbican Theatre ***

This is something that has been expected for a long time and now the time has come that the tragedy of 9/11 is being dealt with on stage in Tansy Davie's new opera. It takes the lives of 5 people in the North tower and follows them as this horror unfolds. It is fair to say that the reaction hasn't all been positive and many reviews have been luke warm but I have to say that my experience of this was far better than many critic's experience. The design from Michael Levine is beautiful in it's simplicity, with three floors capturing the grandure of the towers yet poignant and respectful. Warner's direction too helps create an emotional, heart- rendering account. Tansy Davies' music, whilst not the best, makes full use of the ENO's marvellous chorus that help to convey the mundanity of normal life in New York to a choral, mass- like feel towards the end of the opera. I feel that the shaman is somewhat irrelevant here and needed to have a larger role to give him a purpose. Also, the flying dancer needs to be vsible audience and used more often for the meaning he represents to become truly understood by the audience. Lastly, perhaps the magnitude of the atrocity that took place that fateful day and the everyday problems of the characters don't quite gel as they should which may be down to Drake's libretto that, whilst isn't half as bad as many have said, is relatively mundane as only so much can be conveyed operatically from messages from victims which are hardly poetic. Despite this, it still packs a punch and the spirituality of the final moments is truly special to experience.

Sweeney Todd, Colliseum *****

There is currently a Sondheim overload in London, with Gypsy at the Savoy, Into the Woods fresh out of cinemas and two separate productions of his classic Sweeney Todd. One is at a pop up pie and mash shop on Shafetesbury Avenue, giving it's audience a close and personal tale. The ENO production, on the other hand, is far from intimate, with this semi staged operatic retelling with the ever delightful Emma Thompson as Lovett and the powerhouse Bryn Terfel as the Barber of Fleet Street. From the very start, you know you're in safe hands with a prologue that pulls fun at the glamorous setting, with scores and music stands ending up thrown round the stage and a grand piano upturned. This isn't going to be a normal 'semi staged performance' in the style of the Les Mis concerts. 

This production is going to capture the majestic nature of Sondheim's score on a grand scale. In fact, if it wasn't for the orchestra on the stage as well, it could easily pass for a fully staged show. Every aspect of this sublime performance was spot on. From the powerful chorus giving an awe filled rendition of the opening to the love ballads between Anthony and Johanna, played exquisitely by Matthew Seadon- Young and Katie Hall who reach the high notes with such ease. Philip Quast, whose Javert I found a touch too operatic and lacking in emotion is far from emotionless as Turpin, with his solo displaying a depth to the Judge which rivals John Bowe's portrayal in 2012.  Alex Gaumond, fresh from being a fraudster in Dirty Rotten Scoundrels, provides a creepy Beadle and the spectacularly high notes are reached, providing me with the greatest surprise of the performance. Rosalie Craig, John Owen Jones and Jack North are also satisfying as the Beggar, Pirelli and Tobias. Bryn Terfel is, as always, masterful as Sweeney, showing a more sadistic man than Ball's Todd and less of a sense of being corrupted by Lovett, who here is played by a tuneful and wonderfully comic Emma Thompson who plays the role in an innocent way. Each little touch from a timpani being Lovett's work station to a bassist's chair being used as Sweeney's barber chair to the conductor's stick to be used as a combo make this production special and memorable. This production captures the true genius of Sondheim with a chilling rendition of perhaps the greatest musical/ opera of all time.

The Indian Queen, Colliseum **

This is the latest self indulgent vanity project from the director Peter Sellars who has been given his dream task. An unfinished opera which can be warped heavily to transport it into the surreal, scary world of Peter Sellar's head and then regurgitated out to be served to audiences eager to interpret it as profound and important. For me, this production is a step too far for the delusional director. The music and narrative does not fit together and the dramatic text being read in between the wonderful music seems overdone. This did not matter so much but when the music stopped for some wildlife noises to occur in a very disjointed way, it started to annoy me. This production seems to have done as much as possible in order to alienate any newcomers to opera. Whilst the Mastersingers was beautiful despite it's  questionable politics, The Indian Queen is a failure in my eyes despite containing the most wonderful music.

The Mastersingers of Nuremburg, Colliseum *****

There are so many reasons for the ENO not to stage this opera. In the financial hell the company has dug themselves into, why did they think that they could fill a 2,500 seat auditorium for a 5 and a half hour opera known for it's link to Nazism? However, the triumphant overture began to a packed auditorium and, more impressively, ended with a full, enthusiastic audience. The scarily long running time seemed to fly by faster than the 2 hour Happy Days which I saw 2 days earlier. What's more, it is extremely funny in a way that no other opera can possibly dare to be. It is a luxury to be presented with such quality from Richard Jones' production for such a long time. The pitfalls that Jones could fall into are avoided extremely well, especially the final scene which is clearly a piece of nationalism  but is now concentrated of the genius of German art. Also, the anti- semitism often associated with Beckmesser is totally avoided, now just being a comic 'baddie' which suits much better. The lyricism is surprising to me, with rousing melodies and magnificent choral parts in the third act. Before, I thought this opera just was an example of a composer being indulgent but after you appreciate every note this genius has created.

The Gospel According to the Other Mary, Colliseum ****

The company of The Gospel According to the Other May

I don't think I have ever seen a traditional opera at the ENO. First, a production of the Magic Flute where they made sound and video effects on stage and a raised orchestra pit. Then, a Glass opera with a Sanskrit libretto, no surtitles and giant puppets. Now, John Adams and Peter Sellars give their take on the Passion of Christ and it seems like they have gone out of their way to avoid the common cliches. The main thing to note about this staged oratorio is the lack of Jesus. He is instead portrayed by the dancer Banks (Angel Gabriel) and three countertenors (Seraphim). These four people provide some of the most wonder of the show. Banks seems to have full control of every single muscle in his body and I was transfixed on him whenever he starts moving. The countertenors were also extraordinary. The voice of the countertenor is undoubtedly my favorite as it pierces the air and beguiles you like no other voice can. Therefore, three of them singing with Adam's masterful harmonies is truly wonderful. The rest of the ensemble also give masterful performances with an interesting portrayal of Martha by the contralto Meredith Arwady to the Tenor Russell Thomas giving an impressive performance as the singing Lazarus whilst the dancer Parinay Mehra portraying the same role through dance. The show is perhaps too minimalist for it's own good, with the lack of set or costume perhaps showing the signs of the companies lack of money rather than the daring, extraordinary piece which it most certainly is. The music, whilst far from lyrical, is beautiful and deserves as much exposure as it can. Whilst this staging may not have been essential, the experience of the dancing and music is well worth any money spent to see it.