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For frothy entertainment, Pelly’s Fille is harmless fun, even if it descends into pantomime cliché. Juan Diego Flórez’s Tonio ensures it remains a hot ticket and Patrizia Ciofi’s Marie is a bundle of energy.
Sunshine bursts forth as Pablo Heras-Casado conducts the Philharmonia Orchestra, featuring pianist Nikolai Lugansky, in a Sunday matinée concert of Beethoven and Mendelssohn at the Southbank Centre.
Britten's Spring Symphony and Ryan Wigglesworth's Locke's Theatre join with Rudolf Buchbinder's thrilling account of Rachmaninov's Rhapsody, all conducted, at short notice, by Brett Mitchell, Franz Welser-Möst's assistant.
A varied programme of music for flute trio spanning a wide period presented at Berlin's Konzerthaus.
A wonderful performance of Harrison Birtwistle's Earth Dances at the New Music Dublin Festival, but can it still qualify as “new”?
English Touring Opera's production of Mozart's The Magic Flute launches in Hackney, balanced more towards fun than profundity, with some stunning coups de théâtre.
In Montreal Richard Turp discovers a modern-day Pied Piper of Hamelin, Maurice Steger in music of 18th century Naples accompanied by Les Violons du Roy
Rachel Rizzuto reviews Faye Driscoll's Thank You For Coming at Danspace, New York City.
Asko|Schönberg presents exciting new works by Wagemans and Kulenty.
Aggressively sexual, full-frontally experimental and self-consciously provocative, Vincent Dance Theatre’s Motherland dirtied the stage (literally) at the Southbank Centre last Thursday as part of the WOW (Women of the World) Festival 2014.
Matthias Goerne steps in for Thomas Hampson and electrifies James Levine's Wozzeck at the Metropolitan Opera.
Christophe Rousset and Les talens lyriques present a delightful concert performance of Rameau's five-in-one opéra-ballet Les Indes galantes.
Diablo Ballet celebrates its 20th anniversary with a one-night performance of dance, film, shared memories and surprise performances.
NDT2 conclude their season in the Netherlands with Programme B, showcasing B.R.I.S.A, a new work by Inger, and 2005 work by Lightfoot and León, Postscript. At Theater aan het Spui, The Hague.
The Arditti Quartet has adventurously championed contemporary repertoire throughout an illustrious career. Recent quartets from Haas and Abrahamsen are joined by Xenakis' Tetras at the New Music Dublin Festival.
Cellist Louisa Tuck and the Royal Northern Sinfonia, with guest conductor Paul Watkins, deliver a lyrical and coherent interpretation of Britten's complex Cello Symphony.
For sheer dramatic potential, let alone the beauty of its music, Daniel Purcell’s The Judgement of Paris is a rare find. In this celebratory performance at St John’s Smith Square, this long-lost opera sparkles at us across the silent centuries.
Wayne McGregor's Random Dance unites science and dance in Atomos at The Laban Theatre, London.
Risks bring rewards as Matthias Goerne and Christoph Eschenbach present Die schöne Müllerin at Carnegie Hall.
Candoco Dance Company's Triple Bill comes to the Warwick Arts Centre.
With 4D, Moroccan choreographer Sidi Larbi Cherkaoui frames four duets on the theme of love and lust, derived from different works during his long career. Sofia Nyblom is initially seduced, but chokes on the stickyness of too much love-making.
The Partitas are Bach's most grueling works for keyboard, but Koopman's accomplished interpretation brought them to life.
Benjamin Millepied's L.A. Dance Project is back in Paris with L.A. Dance Project 2, showcasing works by Millepied, Emmanuel Gat, Hiroaki Umeda and Justin Peck. At Théâtre du Châtelet.
Eastern European folk rhythms and the spirit of fin de siècle Russia resonate through Basingstoke as the Vienna Tonkünstler Orchestra plays Kodály, Rachmaninov and Dvořák.
The future of opera is in good hands, if Tuesday night’s opening of Jonathan Dove's The Adventures of Pinocchio at the Guildhall School of Music and Drama is any indication.
Cette année, King’s Place célèbre le 140ème anniversaire de la naissance de Arnold Schoenberg, compositeur autrichien surtout connu pour s’être distancé de la tonalité classique et avoir développé le dodécaphonisme.
Despite a disappointingly static production, the cast shine in the Royal College of Music's producion of Handel's rarity Arianna in Creta.
Miguel Poveda gives a powerful performance at London Flamenco Festival at Salder’s Wells.
A substantial musical menu of works by Wagner, Liszt and Berlioz, the poster boys of 19th century Romanticism, along with a world première, presented by l'Orchestre symphonique de Montréal, Marc-André Hamelin and Kent Nagano.
With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.
Eugene Onegin: regrets, broken dreams and sorrow are perfectly rendered in this staging, as the callous dandy's icy heart eventually melts.
Pieter Jan Leusink and the Bach Choir and Orchestra of the Netherlands give an exuberant and warm-hearted perofrmance of Mozart's Coronation Mass and Requiem.
If you like your flamenco hot and heroic, with a dash of pathos, La Pepa at Sadlers Wells will not disappoint. By Ballet Flamenco Sara Baras.
A deeply stirring interpretation of Bach's St John Passion from Pacific Musicworks in Seattle.
There’s more to Brazil than nuts and football, as our reviewer discovered in an evening devoted to Brazilian Baroque, presented by Ex Cathedra.
Extreme dynamics explored in Ravel's Daphnis et Chloé and Boléro presented by the Dallas Symphony Orchestra and Jaap van Zweden, complemented by Louis Lortie's Mozart.
Dutch National Ballet's Fairytales is fantastic night out for all ages. Anna Tsygankova as the title role in Firebird and Remi Wörtmeyer as Puck in The Dream stun their Dutch audience with their athleticism and expressiveness. At Amsterdam Muziektheater.
Natalie Dessay’s recital at the Maison Symphonique last night should have been an art song lover’s dream come true. Instead the audience was treated to a bizarre spectacle of over-expression and under-singing.
An honest and subtle performance from Barbara Hannigan in the Dutch première of Hans Abrahamsen’s song cycle which tells Ophelia's story.
Stately fun and stormy exoticism: Maxim Vengerov appears as soloist and conductor in a programme of Beethoven and Rimsky-Korsakov at the Barbican.
Richard Jones' new production of Rodelinda for ENO has some very good singing, but suffers from a production that refuses to take the opera seriously.
Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.
Luca Silvestrini’s Border Tales at The Place is a colourful, humorous look at multiculturalism in modern Britain.
Stéphane Denève’s astute dramatic sensibilityis to the fore in dance-related Prokofiev, Poulenc and Stravinsky in Philadelphia.
Marc-André Hamelin, Martin Fröst and Anthony Marwood join forces at Wigmore Hall in a great selection of mainly 20th century classics by Debussy, Stravinsky, Bartók and Poulenc.
Christoph von Dohnányi yields to the Romanticism of Ein Heldenleben after a delicate, ornate rendering of Beethoven's Piano Concerto no.1 from Martin Helmchen.
Two English operas featuring strong central female characters, men called by the sea, and tragedy wrought by overwhelming, irresistible forces form a double bill in Cleveland, directed by David Bamberger.
American Ballet Theatre's Japan tour returns Kenneth MacMillan's Manon to company repetoire, with Diana Vishneva and Marcelo Gomes dancing the main roles, the two stars dazzling with chemistry.
Francesca Zambello's huge, ambitious production returns once again to the Royal Albert Hall, with lavish costumes, excellent choreography and riotous crowd scenes which will charm children in particular.
Italian Dance Theatre company, Kataklò, makes a tour around the Netherlands with their show Puzzle. At the Meervaart Theatre, Amsterdam.