Gavin and Stacey star James Corden is up against Jude Law for a prestigious theatrical award.

The ROH's latest 'everyday' tale revolves around a lottery, its star and composer tell Jessica Duchen

Strictly Come Dancing star Craig Revel Horwood is swapping the ballroom for the baton - as he learns to become a classical conductor.

Strictly Come Dancing star Craig Revel Horwood is swapping the ballroom for the baton - as he learns to become a classical conductor.

In these straitened times a new full-length classical ballet is a rarity, so the Opera National de Paris deserves praise for breathing new life into a forgotten hit from the 19th-century. With music by Delibes and Minkus, and costumes by Christian Lacroix, La Source – the spring – is a version of the Rusalka legend set in what is now Chechnya. When it premiered in 1866, its exotic locale was part of its appeal.

When Susan Bullock delivers the traditional rendition of Rule, Britannia! at this year's Last Night of the Proms it will come as a ringing endorsement of her continuing pre-eminence as Britain's leading dramatic soprano.

Anna Karenina famously ends with a train. In the Mariinsky Ballet's new adaptation of Tolstoy's novel, you get trains all the way through. An elaborate carriage set looms through dry ice and clunks round on a revolve, all but elbowing its way to the front of the stage. It's a laborious effect that never looks as if it's going to work smoothly. Unfortunately, it sets the tone for the ballet.

In the early years of Diaghilev's Ballets Russes, Mikhail Fokine's ballets offered European audiences intoxicating visions, from grounded Russian folk tales to wild eastern dreams. In this celebration, the Mariinsky Ballet dance three of his most famous works.

A huge success at the Royal Opera House last year in Verdi's Simon Boccanegra, Joseph Calleja understandably includes his standout aria from that production, "Sento avvampar nell'anima", on this latest collection, along with plenty of Puccini and a series of French heroic roles from Offenbach's Hoffman, Massenet's Manon and Bizet's Pearl Fishers, in all of which he shows no cramping of his natural bel canto style by the French line, finding plenty of room to manoeuvre.

Extreme yodelling and karaoke are coming to the home of heavyweight opera this summer in a series of radical performances.

The best of families fall out, but they don't all get a chance to iron out their differences in front of an audience paying hundreds to see the reconciliation

The words are in French but still familiar - “Once upon a time...” – and the story which follows, Cendrillon (that’s Cinderella to you and me), is writ large across the surfaces of Barbara de Limburg’s set, opening like a pop-up book of fairytales whose sliding panels have our eyes hanging on to every word.

One can only hope that the ill wind which strips away the cherry blossom at the close of Patrice Caurier and Moshe Leiser’s feeble 2003 production of Madama Butterfly might soon carry off the entire staging.

Among often-heard platitudes that denigrate musical "crossover" is an argument that the Three Tenors did not convince their fans to listen to opera. But now there's living, singing proof that they did. James Valenti, the fast-rising star tenor, says that he might not be where he is now – taking on leading roles at the Royal Opera House – had it not been for their inspiration.