Selected dates: All dates
An updating of Mozart's Die Entführung aus dem Serail to the post-World War One era in a desert fails to inspire in Aix.
Ana Sokolović Svabda (Marriage) leaves six singers in search of an opera on Aix's Théâtre du Jeu de Paume stage.
Rarely performed, Verdi's fifth opera Ernani is full of fiery passions, with a relentless flow of melodic invention, as heard in this concert performance by Chelsea Opera Group.
The 67th Aix Festival got off to a hot, heady start with Katie Mitchell's witty and ingenious staging of Handel's 1735 sorcery opera Alcina.
What a rare and uplifting experience it is to hear a performance of such quality, depth of feeling and maturity as that given of Brahms Piano Concerto no.1 in D minor by Krystian Zimerman, the LSO and Simon Rattle.
A Midsummer Night's Dream meets Saturday Night Fever in this glamourous, heady, glitter-strewn performance at Trinity Laban, directed by Olivia Fuchs.
While the billboard advertisements focussed on the presence of the ‘hit aria “Nessun dorma”’, there was much else to enjoy in this Turandot revival in Sydney: a lively, rich production and a strong cast headed by Lise Lindstrom and Yonghoon Lee.
A series of cancellations resulted in an unusual triple bill: a rare Spanish opera, an impromptu concert by Plácido Domingo and Woody Allen's brilliant Gianni Schicchi.
A stunning performance of John Neumeier's Romeo and Juliet by The Hamburg Ballet, with Hélène Bouchet and Alexandr Trusch in the leading roles.
Sadly, Damiano Michieletto and Antonio Pappano's production is more likely to be remembered for its failings – the awful rape scene, its dullness, plus a list of annoying details too long to mention – than for its musical excellence. It’s worth seeing to get a feel of both.
Iván Fischer, and the Budapest Festival Orchestra brought a high level of intimacy with, and understanding of, the repertoire performed in the evening’s programme in São Paulo.
Fire and ice. When the cool, steely tone of Joshua Bell ‘Huberman’ Stradivarius met the feverish impetuosity of Pablo Heras-Casado at the helm of the London Symphony Orchestra for the final leg of its International Violin Festival, it wasn’t always a case of opposites attracting.
Dohnányi and the Philharmonia produce rousing Beethoven and Bartók with clarity and bite. Steinbacher and Power present different approaches to Mozart in a spirited and flawless performance.
The visual results are stunning, though an uneven cast made this a performance with clear weaknesses as well as strengths. Aquiles Machado's Cavaradossi, on the other hand, was an indubitable revelation.
A glittering production of Rossini's retelling of the Cinderella fairy tale at the Teatro San Carlo.
Ravel and Bartók shared the program with Gershwin, Brubeck, Thelonious Monk and others in this imaginative program.
Der fliegende Holländer at Leeds Town Hall shows Opera North at its most exciting, in a production conducted by Richard Farnes, with Béla Perencz and Alwyn Mellor.
A diverse program which shows the breadth and depth of the Royal Ballet.
Donizetti’s magic potion was much more Bollinger bubbles than bad Bordeaux. It was delightful, delicious and de-lovely.
Jonathan Dove’s new opera about the foolhardy destruction of nature receives an open-air world première with fiery special effects against an evocative historical backdrop.
The Philharmonia's rich strings shine in an ultimately incosistent evening of Romantic classics.
Works by Haydn, Johann Strauss (as reconceived by Alban Berg) and Britten filled out this concert in the midst of the fourth season of splendid chamber concerts featuring top-notch playing by local and guest musicians.
Gods, nymphs, campy cavemen, angel's wings and a one-legged pirate - this production has it all, and plenty more.
These dancers know how to play comedy with such deft assurance that you barely realize they aren’t using words.
The two Danieles – Gatti and Abbado – triumphed in the final opera of the 78th Maggio Musicale Fiorentino, with a heavenly new production of Debussy’s Pelléas et Mélisande.
Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.
When a back problem forced Gustavo Dudamel to cancel, the Tonhalle’s new chief conductor Lionel Bringuier picked up the programme and changed it to an all-Brahms escapade.
The LSO, led by Edward Gardner, delivered a moving and profound performance of Haydn's Creation despite the acoustic challenges of St Paul's.
Imaginative keyboard leadership from visiting director Richard Egarr a highlight in his programme with the Australian Chamber Orchestra's 'Golden Age' tour.
A performance of Wagner’s epic Tristan und Isolde, a testimony for all-enduring love, is a welcome event anywhere in the world.
Six years after its contested 2009 world première at the Metropolitan Opera, Luc Bondy's disputed production of Giacomo Puccini's Tosca bowed its third Teatro alla Scala staging here on Monday night.
Cardillac has a spooky, sinister fascination that both intrigues and horrifies and which is quite successfully expressed in this striking production by Sven-Eric Bechtolf.
After quartets by Nielsen and Beethoven, Nordic folk song arrangements brought the first day of the 2015 City of London Festival to a festive close.
Britten’s final opera given an impressively atmospheric staging, ideally conceived for the small venue
The highlight of the Dresden Philharmonic's evening in Birmingham was Mendelssohn's Violin Concerto in E minor, with Arabella Steinbacher's performance a joy to experience.
A dynamic cast recently gave the Zurich audience the “stuffs” of Vincenzo Bellini’s tragic opera: the power of duty, law and honour.
Bernard Haitink and the LSO in fine form for an all-Beethoven programme, but the 'Glorious Ninth' fails to impress.
Cardiff Castle hosted an entertaining bout of medieval jousting yesterday afternoon, but in the evening all eyes and ears turned to the vocal jousting in St David’s Hall.
In 2015, The Flying Dutchman is on the roster at the Wagner in Budapest festival. A fine cast and an inventive orchestra under the baton of Adam Fischer are matched with a debatable staging by Balázs Kovalik
This was, by no doubt, the largest ensemble on stage at Colston Hall this season with five choirs and an orchestra that took over the stage.
Singapore Dance Theatre, in its 20th year of Ballet Under The Stars, puts on a wonderful trio of works: George Balanchine’s Concerto Barocco, Serenade and Goh Choo San’s Schubert Symphony.
Grange Park’s Samson et Dalila doesn’t hit the bull’s eye, but it’s well worth the visit for a decent all-round staging of an unfamiliar work, an excellent rendering of its sumptuous score and for a thrilling piece of singing by Carl Tanner.
Ruth Mackenzie, Holland Festival’s vivacious and invigorating new director, closed her first edition with a twelve hour Prom, reinventing it as a mini-festival at Amsterdam’s Concertgebouw.
Yuja Wang playing cat and mouse with the Hong Kong Philharmonic in Brahms' B-flat second concerto.
"under Inkinen the New Zealand Symphony Orchestra has set a standard that is rarely surpassed even internationally"
After 50 years, MacMillan’s Romeo and Juliet remains the standard by which all others are judged.
A superb Susanna and an excellent Count make this small-scale, traditional and period Marriage of Figaro from Regents Opera feel truly fresh and alive.
Beethoven gets the mock-period treatment from Michael Sanderling and the Dresden Philharmonic in the first of three concerts at Cadogan Hall.
The Seattle Symphony concludes its fourth season with music director Ludovic Morlot with an intimately detailed account of the most epic of Mahler's symphonies.
After seven years at the helm, Andris Nelsons gave his last performance with the CBSO at Symphony Hall. His future in Boston is secured, but what of the CBSO?