Carmen declares that any man she loves should beware. However, even she is unprepared for what will happen when she decides to seduce Don José, an army corporal who initially appears uninterested in her charms. Don José soon abandons his sweetheart Micaëla and his army job for Carmen, and joins her and her smuggler friends in the mountains. But Carmen quickly wearies of Don José's possessiveness. When she turns her attentions to the dashing toreador Escamillo, Don José's jealousy erupts into violence.

When Rosina falls in love with mysterious young suitor Lindoro, she must use all her cunning – and a little help from her local barber – to outwit her calculating guardian Dr Bartolo. Expect heart-melting serenades, ridiculous disguises and a fairytale ending waiting just out of reach. From the barber’s opening number ‘Largo al factotum,’ with its cry of ‘Figaro!,’ to Rosina’s feisty aria ‘Una voce poco fa,’ Gioachino Rossini’s comic opera is a riotously entertaining affair. Rafael Payare makes his House debut, and joins Christopher Willis in conducting a cast that includes Andrzej Filończyk, Aigul Akhmetshina, Laurence Brownlee, Konu Kim and Bryn Terfel.

Director Carrie Cracknell makes her Met debut, reinvigorating the classic story with a staging that moves the action to the modern day, in a contemporary American industrial town.

Mezzo-soprano Aigul Akhmetshina headlines a winning ensemble as the feisty heroine, Rosina, alongside high-flying tenor Jack Swanson, in his Met debut, as her secret beloved, Count Almaviva. Baritone Andrey Zhilikhovsky stars as Figaro, the titular barber of Seville, with bass-baritone Peter Kálmán as Dr. Bartolo and bass Alexander Vinogradov as Don Basilio rounding out the principal cast.

This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.

Antonio Pappano conducts a stellar cast of singers in favourite arias, duets and choruses from operas by Rossini, Donizetti and Puccini, along with the thrilling finale of Bizet’s Carmen. Italian baritone Vito Priante offers haircuts as the Barber of Seville, and Lisette Oropesa dazzles with her flawless soprano coloratura before being joined by American tenor Charles Castronovo for some heartwarming comedy in Donizetti’s The Elixir of Love. Mezzo-soprano Aigul Akhmetshina starts out as Cinderella celebrating her good fortune and then magically transforms into femme fatale Carmen for the tragic finale of Bizet’s great opera. The drama increases with Kristine Opolais singing the role of doomed diva Tosca, with Canadian baritone Gerald Finley joining her for the searing Te Deum from Puccini’s masterpiece. The chorus and orchestra of the Royal Opera House are arrayed throughout the stalls of the fabulous auditorium at Covent Garden to maintain social distancing. Presented by Katie Derham.

Norma is a woman torn between two systems. As a chaste druid priestess, she decides on war and peace in an occupied land; secretly, she’s the lover of Roman commander Pollione and mother of his two children. Her double life unravels when Pollione plans to leave her for the younger priestess Adalgisa. Caught between love and vengeance, faith and reason, tradition and empire, Norma nearly kills her children—before choosing another, equally radical path. Vincenzo Bellini’s 1831 opera is a masterpiece of Italian Romanticism. The role of Norma, with its emotional and vocal range from bel canto to raw outcry, is iconic. Director Vasily Barkhatov sets the tragedy amid political upheaval, where old idols are replaced by new. Star soprano Asmik Grigorian debuts in the title role. Adalgisa is sung by Aigul Akhmetshina.

Met performances of Strauss’s white-hot one-act tragedy, which receives its first new production at the company in 20 years. Claus Guth, one of Europe’s leading opera directors, gives the biblical story—already filtered through the beautiful and strange imagination of Oscar Wilde’s play—a psychologically perceptive Victorian-era setting rich in symbolism and subtle shades of darkness and light.

A masterpiece of bel canto at the Teatro Real in Madrid: conductor José Miguel Pérez-Sierra and director David McVicar take on Donizetti’s Maria Stuarda, with Lisette Oropesa in the title role.