One of the craziest operatic comedies ever written. Rossini’s razor-sharp musical wit delivers in riotous technicolour. Dashing Count Almaviva is in love with the feisty young Rosina. But her guardian, Dr Bartolo, is determined to marry her himself. Cue Figaro – also known as The Barber of Seville – with a series of hare-brained schemes, one of which just might work.

One of the craziest operatic comedies ever written. Rossini’s razor-sharp musical wit delivers in riotous technicolour. Dashing Count Almaviva is in love with the feisty young Rosina. But her guardian, Dr Bartolo, is determined to marry her himself. Cue Figaro – also known as The Barber of Seville – with a series of hare-brained schemes, one of which just might work.

One of the craziest operatic comedies ever written. Rossini’s razor-sharp musical wit delivers in riotous technicolour. Dashing Count Almaviva is in love with the feisty young Rosina. But her guardian, Dr Bartolo, is determined to marry her himself. Cue Figaro – also known as The Barber of Seville – with a series of hare-brained schemes, one of which just might work.

A chilling ghost story, saturated with menace. Benjamin Britten’s haunting operatic version of Henry James’s famous novella The Turn of the Screw. A young governess arrives at a remote country house to care for two children with only written instructions from their guardian, who advises not to disturb him. Before long a tapestry is woven of obsession, sexual awakening and the destruction of childhood. A narrative just ambivalent enough for us to project upon it our own fears.

A chilling ghost story, saturated with menace. Benjamin Britten’s haunting operatic version of Henry James’s famous novella The Turn of the Screw. A young governess arrives at a remote country house to care for two children with only written instructions from their guardian, who advises not to disturb him. Before long a tapestry is woven of obsession, sexual awakening and the destruction of childhood. A narrative just ambivalent enough for us to project upon it our own fears.