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.

Madama Butterfly, Royal Opera House ***

I adore Puccini. Both Tosca and Boheme are astounding masterpieces. I feel that, whilst Butterfly has a similarly romantic score with wonderful arias, the plot is shaky without likeable leads. Pinkerton is a despicable character who never loves his Japanese bride. There is no point throughout the opera where I felt any sympathy for him. Perhaps it is the way Brian Jagde plays him,the way John Luther Long or David Belsaco wrote him or how Puccini interpreted him. Cio- Cio- San is played here by Ana María Martínez in quite a narcissistic way and even though the arias are sung sublimely, the tragic denouement seems to come about purely due to Butterfly's self centred attitude. The last negative thought is on the staging. The stripped back set jars with the grand nature of this opera house which is disappointing for what seems to be a popular opera for first time opera goers. Despite this, there is still plenty to enjoy. It is satisfying when you notice the different themes and the conducting from Nicola Luisotti is wonderful, bringing out the romance in the piece, especially in Un Bel Di, Vedremo which is up there with operas great arias. It is a perfectly enjoyable experience to watch this opera, but it does need a lot of work done before it becomes a true pleasure to see.

La Boheme, Royal Opera House *****

Ermonela Jaho and Charles Castronovo in La Bohème at the Royal Opera House

 Photograph: Catherine Ashmore

What can you say about a perfect opera such as this? My second visit to the Royal Opera House has secured my belief that La Boheme is other worldly. The arias are rapid and delightful, the plot romantic yet tragic; the characters funny yet three dimensional and human. Mozart does not even touch Puccini's heights when opera is concerned. This set some feat for the cast to reach.

And my high expectations were exceeded by the sheer quality of the Opera House's production. Whilst the production is now in it's sixtieth year (the show I saw was it's 609th performance), it is still fresh and interesting. The relationship between Rodolpho and Mimi is spine- tingling, with Jaho and Castronovo putting in a belter of a performance. The set showed why this staging is a firm favourite. Every single member of the cast was convincing and, by the end of the show, I was in floods of tears. Utterly remarkable!

Tosca, Royal Opera House *****

Bryn Terfel as Scarpia in Tosca

On Thursday, I had my first trip to the Royal Opera House and what an experiance! It is so grand and the buzz created in it was electrifying. On top of this, the opera chosen for my first visit was the opera that convinced me of the power of classical music. Puccini's music  is the best music for anyone starting in opera. Tosca gets the romance and grandure just right.

And this production achieved perfection. Kent's production is so evocative that treads the line between the extraordinary political events going on and a close romance. It has received a lot of criticism over the years, however giving this production five stars only on the merits on its cast. This either shows inconsistency of several reviewers or the snobbery the same reviewers. Having said that, the cast is absolutely superb and, whilst it is slightly unbelievable to understand how a production can leap from two to five stars, the combination of Radvanovsky, Massi and Terfel does prove an unstoppable force. Vissi d'Arte in particular had my hairs on end with rapturous applause. They also made the third act seem good which is also a great feat. In general, one of the best operas performed perfectly. 

P.S: Placido Domingo waved his stick around well.