ENO’s critically and commercially successful 2025/26 Season draws to a close

Opening the 2025/26 Season at the beginning of September was ENO’s semi-staged BBC Proms concert of Shostakovich’s Lady Macbeth of Mtsensk at the Royal Albert Hall, in collaboration with the BBC Singers and BBC Philharmonic Orchestra.

‘A highlight of the Proms season’ for The Observer; the concert was also described as ‘stunning’ by Bachtrack and ‘riveting’ by Opera Today.

Later in September, ENO presented Mozart’s Women: A Musical Journey, directed by ENO’s Artistic Director Annilese Miskimmon, showcasing some of the composer’s most iconic music for the female voice.

Hosted by TV and radio presenter Lauren Laverne, the ENO concert was in partnership with Factory Films and broadcast on Sky Arts in December, as part of ENO’s commitment to broadening access to opera. The Guardian said: ‘The musical atmosphere was electric’.

The first opera production of the season was a contemporary new take on Rossini’s Cinderella (La Cenerentola) by director Julia Burbach. Starring Deepa Johnny (recently named one of Classic FM’s Rising Stars for 2026), it was praised by the Financial Times as ‘sassy and fun’.

‘English National Opera opened its first season split between the London Coliseum and its new home in Manchester with an energetic display of institutional confidence,’ said the Guardian.

In October, ENO ‘entered its Greater Manchester era’ (Manchester Evening News) with its first show at Salford’s Lowry: a new production of Benjamin Britten’s comic opera Albert Herring. It also had two performances at the London Coliseum.

The show was enthusiastically received by Manchester audiences, as well as critics. The Telegraph called it ‘a delight’, while The i described it as ‘vintage ENO… properly funny and charming.’

Bizet’s Carmen made a welcome return to the London Coliseum with Calixto Bieito’s classic production, featuring acclaimed performances by Niamh O’Sullivan and former Harewood Artist John Findon.

The Children’s Chorus, performed by children from Marlborough School, the local state primary, drew praise with the Daily Express declaring, ‘I do not think I have ever seen so many children on stage clearly enjoying themselves.’

Next up was a powerful new staging of Jake Heggie’s Dead Man Walking, directed by Annilese Miskimmon. Presented in the opera’s 25^th anniversary year, this was a national and international co-production between ENO, Opera North and the Finnish National Opera.

Critics and audience members were blown away by the UK’s first fully staged production, which received rave 5-star reviews across the board. The Times praised it as ‘shocking and stunning… contemporary opera at its very best’, with Opera Now Magazine calling it ‘a complete masterpiece’.

It has recently been nominated for Best new opera production at the 2026 Olivier Awards.

November also saw a revival of Chrisopher Alden’s acclaimed 2008 staging of Handel’s Partenope delighting audiences and critics alike.

The Telegraph called the production ‘fresh, funny and frivolous’, while many enjoyed Nardus Williams’ ‘bewitching’ (The Observer) performance, as well as Hugh Cutting’s ‘sensational ENO debut’ (The Stage). Seen & Heard International commented: ‘ENO remains a jewel in English Opera’.

Sailing into London for December and January was Cal McCrystal’s much-loved staging of HMS Pinafore, guest-starring comedian and TV presenter Mel Giedroyc.

Audiences loved Gilbert & Sullivan’s nautical-themed romp, with one attendee describing it as ‘a fantastic introduction to opera for the whole family.’ The Guardian praised this ‘laugh-out-loud staging’ and The Telegraph called it ‘hilarious’.

A revival of Mozart’s romantic comedy Così fan tutte appeared in February 2026, with the multi-award-winning Phelim McDermott returning to direct.

The Times called it ‘glorious escapism’ and The London Standard ‘dazzling mayhem’, with audience members commenting that ‘it felt so friendly and accessible’.

The talented cast reprised their roles, alongside the Chorus and Orchestra of ENO, in a new semi-staged concert of Così fan tutte at The Bridgewater Hall, Manchester, later that month.

Seen & Heard International described it as ‘providing enjoyment in spades’, while I Love Manchester called it ‘A riot of mischief… leaves audiences laughing and thoroughly entertained.’

Closing the Season in London was a new, sold-out production of Bertolt Brecht and Kurt Weill’s rarely performed political satire, Rise and Fall of the City of Mahagonny, starring Danielle de Niese. André de Ridder, in his first engagement as ENO’s Music Director Designate, conducted the electric score.

It received several 5-star reviews, including from The Times, who described it as ‘exhilarating… an anarchic 5-star night from ENO’. The Financial Times called it ‘a rafter-shaking outing at the London Coliseum… [it] goes for the jugular.’

ENO’s 2025/26 Season will conclude in May with the UK premiere of Du Yun and Royce Vavrek’s Pulitzer Prize-winning opera Angel’s Bone at Aviva Studios, Manchester, presented in collaboration with Factory International and BBC Philharmonic Orchestra, with the Kantos Chamber Choir.