An earth in ruin. The twilight of the Gods.

Deception leads to treachery, then devastation, when Siegfried is tricked into betraying Brünnhilde. Learning the truth of her beloved’s innocence, Brünnhilde at last returns the ring to the Rhinemaidens, before ordering that Valhalla be swallowed in flames. For the long-awaited finale of Wagner’s epic saga, director Barrie Kosky situates the rich apocalyptic drama in a contemporary world of dream-like turmoil. Antonio Pappano, Conductor Laureate of The Royal Opera, returns to take on the impassioned, otherworldly music – including Siegfried’s transporting Funeral March and Brünnhilde’s electrifying Immolation Scene. The brilliant cast is led by Elisabet Strid, Andreas Schager and Mika Kares, who together with the full forces of the Orchestra of the Royal Opera House and the Royal Opera Chorus bring opera’s greatest journey to its shattering end.

Spurred on by a bet, two young men hatch a plan to test the fidelity of their girlfriends. What follows is a slippery game of seduction and power, the four lovers plunging into a dizzying world of shifting reality, where truth becomes increasingly unstable.

Così fan tutte has lost none of its sting since it first scandalised audiences in 1790. In her Main Stage debut, Netia Jones, Associate Director of The Royal Opera, reimagines Mozart’s comedy of manners through a sharp contemporary lens, where 18th-century romantic trickery meets deeply satirical high-tech deceit. Taking on the roles of the lovers is an exciting young cast led by Louise Alder, Simone McIntosh, Mingjie Lei and Huw Montague Rendall, with Gerald Finley as their manipulative game-master Don Alfonso and Emily Pogorelc as Despina. Thomas Hengelbrock conducts, bringing out the exquisite melodies that underpin the provocative, and resolutely modern, themes at the heart of the opera.

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François Ozon’s sterling adaptation of Albert Camus’ landmark novel is a gripping account of human absurdity in 1930s French-colonised Algeria.

It is a hot summer day when Meursault learns about his mother’s passing. What follows is a series of events leading to a tragedy that questions the intentions and moral standing of the protagonist. Shot with a muted palette and featuring understated performances, Ozon superbly captures Meursault’s stillness, passivity and lack of compassion, making us witnesses to his sociopathy.