English National Opera’s (ENO) interpretation of Mozart’s famous opera Don Giovanni has a modern urban feel and is much darker than other ENO shows I’ve seen recently at the London Coliseum.

We are warned before entering that we will experience strobe lights, a strange sensation when sitting in a big opera house. Besides the visual effects, atmospheric breathing noises are heard and throughout the performance masked demons sneak and run about on stage.

Kirill Karabits is an energetic conductor who seems to love being in the pit, and he gets a big sound from the the small orchestra.  The cast is made up of impressive talent, with Iain Paterson in the lead role, bellowing maliciously as the callous Don Giovanni.

Brindley Sherratt is the most convincing actor on stage as the greasy sidekick, Leporello. He is surprisingly hilarious as well as vocally brilliant. I particularly enjoyed his catalogue aria that director Rufus Norris re-imagines as a doctor’s statistical presentation; clever timing provides the audience with many laughs.

Don Giovanni is a long opera, but with Mozart’s lyrical melodies and sharp wit it is always a winner. This new production at the ENO presents the opera in a completely unique and even shocking light.

Don Giovanni continues at The Colliseum until 3 December 2010, book Don Giovanni tickets here.

There are so many opera masterpieces on in London this month. The English National Opera (ENO) is performing La Boheme by Puccini (my favourite opera composer) and The Royal Opera House (ROH) is currently showing Rigoletto by the magnificent Verdi (a composer who many argue is superior to all who came before or after him).

Both theatres have tempting ticket offers, La Boheme tickets are available for as little as £21, and the ROH have Rigoletto tickets for a staggering £8; there are also other student and young person discounts.

The ENO always has a diverse programme. This season they are offering up some real classics including Handel’s Radamisto Mozart’s Don Giovanni and of course Puccini’s La Boheme.

Unlike some operas La Boheme is not difficult to follow, the narrative told through many familiar melodies. Above all it is a great love story and a great opera for beginners!

There is nothing quite like sitting in London’s Royal Opera House, it is one of the great wonders of our city. Rigoletto features Israeli-born conductor Dan Ettinger, making his debut at The ROH. The production is quite dark and moody, and takes place in the shadows of a giant reversible set. The singing is the highlight for me, and I left thinking it perhaps the most impressive display of vocal talent I have ever seen on this stage.

If these grand operas don’t appeal to you, there are plenty of other wonderful, smaller-scale productions happening all over the city. One to look out for is at The King’s Head Theatre in Islington, where Rossini’s The Barber of Seville is currently being performed. And in North London the Hampstead Garden Opera are putting on a production of Mozart’s ever-popular Magic Flute.

Experience something different this month and book tickets to an opera, you are spoilt for choice.

• La Boheme (ENO) continues until 27 Jan. Book here
• Rigoletto (ROH) continues until 6 Nov. Book here
• Don Giovani (ENO) runs 6 Nov- 3 Dec. Book here
• Radamisto (ENO) continues until 4 Nov. Book here
• Barber of Seville (King’s Head Theatre) continues until 14 Nov. Book here
• The Magic Flute (Hamstead Garden Opera) runs 4-14 Nov. Book here

This production is directed by the award-winning Katie Mitchell. Idomeneo is presented in modern day dress, an interesting concept but one that occasionally overpowers the drama. I missed the grandeur of the antique costumes you might expect in a Mozart opera. The staging is immense, with an almost constantly rippling sea as the backdrop. The theme of water is central to the drama, and you are often reminded of its importance.

The four leads all give impressive performances. British tenor, Paul Nilon leads the company as the great Idomeneo. Nilon’s performance is staggering, he sings every virtuosic aria with ease and perfection, making the most of Mozart’s lyrical writing. Robert Murray is less convincing as the son Idamante, although sings well throughout. The two women, Emma Bell as the tormented Electra and Sarah Tynan as Princess Ilia have a wonderful dynamic on stage. Bell is ravishingly fiery and Tynan melancholic and gentle. And Adam Green sings the role of Arbace with great gusto.

Idomeneo is rarely staged, perhaps because of its length. Hopefully after this run at the ENO it will make it to our London stages more often.

Idomeneo continues at the London Coliseum until 9 July, book tickets here.