A young man ignorant of everything, including his own name, arrives at the Kingdom of the Holy Grail. Is he the ‘pure fool, enlightened by compassion’, who, it has been prophesied, will purify the realm? OperaVision is live from Bergen for a concert staging of Parsifal, Richard Wagner’s final music drama which is unlike anything that went before or has come since. It can feel more like a ritual ceremony than an opera – grand yet intimate, somehow occupying its own space and time. At the heart of Parsifal is a curious, magical treatment of the symphony orchestra that appears to give the voices above it all the space and autonomy they need.

Siegmund and Sieglinde find themselves drawn together during a storm. Unbeknown to them their father is Wotan, chief of the gods, who through Siegmund hopes to retrieve a ring of ultimate power. Following Longborough Festival Opera’s critically acclaimed Das Rheingold, Wagner’s epic tale of Der Ring des Nibelungen continues with Die Walküre, conducted by Longborough’s Music Director Anthony Negus, ‘who probably knows The Ring better than any other living British conductor’ (The Times) and semi-staged by Amy Lane. The predominantly British cast shows several generations of great Wagnerian singers at their best.

Since it's premiere in a tiny suburban theatre in Vienna, Die Zauberflote has delighted audiences young and old for over 200 years. Mozart's Singspiel seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Emanuel Schikaneder's original production was theatrically inventive, and this new interpretation from director Simon McBurney emulates that in fresh and current terms. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflote a refreshing new treatment that is both thrilling and simple in it's approach. Following an overwhelming success on stage, McBurney's unique production received five-star reviews in the Dutch press: 'a feast for the eyes and the ears' (Het Parool) and 'Delicious!' (Trouw).

Benjamin Britten’s opera Gloriana was written in 1953 for celebrations around the Coronation of Her Majesty Queen Elizabeth II, to whom the opera is dedicated. It had its first performance at the Royal Opera House on 8 June 1953, in the presence of The Queen then just 6 days into her reign. The centenary in 2013 of Britten’s birth prompted this new Royal Opera production, in which director Richard Jones uses the setting of a celebratory pageant in 1953 to explore the work’s alternating splendour and intimacy. This theatrical, inventive and colourful staging has at its core the symbolic reflections between the Tudor Elizabethan and the New Elizabethan ages that characterize the opera. The juxtaposition of the modern and the archaic in William Plomer’s libretto is wonderfully amplified in music that artfully fuses the sounds and manners of Tudor England – from lute songs to courtly dances – with Britten’s own distinctive style.

After the destruction of Troy, the Trojan warrior Énée sets out on a journey to found a new dynasty. He meets Didon, Queen of Carthage, and falls in love. But will Énée's love for Didon prove stronger than his sense of duty? LES TROYENS ('The Trojans') is a tour de force of music that ranges from fiery military marches to intense choruses, passionate soliloquies – such as those of the prophetess Cassandre – and the lyrical love duets of Didon and Énée. It is Hector Berlioz's largest work and he wrote the libretto himself, drawing upon his intimate knowledge of Virgil's Aeneid. To the composer's disappointment, LES TROYENS was only performed once in full during his lifetime and was often presented in shortened form during the 20th century. The Royal Opera's production provides a rare chance to see this epic work in its entirety. David McVicar's staging is on an enormous scale, assembling one of the largest casts ever seen at Covent Garden.

The priestess Norma loves Pollione, leader of the occupying force suppressing her people, and has borne two children by him. But Pollione’s love has withered, and he now loves Norma’s fellow priestess Adalgisa. Meanwhile, the people urgently look to Norma to lead their rebellion.

Live performance from Salzburg Festival Opera, August 2007. The story tells of Cellini's love for Teresa, daughter of the Papal Treasurer Balducci. His rival, the Papal Sculptor Fieramosca, overhears Cellini plotting to run away with Teresa during the carnival.

Live performance for Garsington Opera, June-July, 2016.

The priestess Norma loves Pollione, leader of the occupying force suppressing her people, and has borne two children by him. But Pollione’s love has withered, and he now loves Norma’s fellow priestess Adalgisa. Meanwhile, the people urgently look to Norma to lead their rebellion. Norma discovers the love between Pollione and Adalgisa. Furiously she gives the signal for war. Pollione is captured, attempting to steal away with Adalgisa. Norma, called upon to announce a sacrificial victim to consecrate the uprising, declares it shall be a guilty priestess: herself.