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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.
A stunning performance of Neumeier's Romeo and Juliet by The Hamburg Ballet
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.
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.
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.
Donizetti’s magic potion was much more Bollinger bubbles than bad Bordeaux. It was delightful, delicious and de-lovely.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
"under Inkinen the New Zealand Symphony Orchestra has set a standard that is rarely surpassed even internationally"
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?
John Storgårds conducts Nielsen's sixth and third symphonies in Manchester's Bridgewater Hall. John Storgårds, who also curated a similar project of Sibelius symphonies this time last year, should be very proud of these short immersive bursts of creative energy.
Beethoven gets the mock-period treatment from Michael Sanderling and the Dresden Philharmonic in the first of three concerts at Cadogan Hall.
Dutch National Ballet closes a vibrant season with Cool Britannia, including exciting world premieres by David Dawson and Christopher Wheeldon and a sensational performance of Wayne McGregor's Chroma.
In Vienna State Opera's new production of Rigoletto, director Pierre Audi brings us close to a Rigoletto less freakish, more identifiably everyday.
The Polish National Ballet compares favorably with American regional companies like Pacific Northwest Ballet, Ballet West and San Francisco Ballet.
A mélange of documentary, Chinese opera and contemporary music does not really bind into a solid whole, but Sichuan opera star Shen Tiemei’s performance is complete musical theatre.
Within Mozart’s Don Giovanni, the darkest corners of the soul are exposed by music, stirred up by the lying, lecherous exploits of the aristocratic scoundrel, Don Giovanni.
Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.
Presenting a cello—piano recital of mostly Gallic works spiced up with a contemporary British composition might appear counter-intuitive to most musicians. Not so to Steven Isserlis, who performed an unusual, challenging, inspiring and highly satisfying concert with pianist Connie Shih in Sydney on Monday night.
In Mozart's The Marriage of Figaro, Figaro and his bride-to-(maybe)-be Susannah share their ups and downs, but in San Francisco Opera's revival production directed by Robin Guarino, it was evident they would be a veritable match made in heaven.