Artikel von Mark Pullinger

In an all-Russian matinee, the Philharmonia presents excerpts from Tchaikovsky’s ballet that lack a dance element, but Rachmaninov’s First Piano Concerto soars.

The final day of Oxford Lieder's 80-event festival was framed by two recitals taking us from the world of German folklore andDes Knaben Wunderhorn, to the pain and drama of romantic entanglements. 

Rosetta Cucchi, who takes over as Artistic Director at Wexford Festival Opera next season, directs a Rossinian rarity and its newly commissioned "prequel". 

Fabio Ceresa returns to Wexford Festival Opera in flamboyant style with a production of Vivaldi's pasticcio. 

A terrific opening to the 68th festival with Aigul Akhmetshina's sultry Dulcinée the standout in a great cast. 

A disappointing staging of Weber's supernatural opera by Compagnie 14:20 in Paris

The tears of a clown behind the public mask? Glyndebourne's first ever production of Rigoletto takes the audience to Hollywood in the silent film era. 

Sir Bryn Terfel relishes every nuance of the text, but Damiano Michieletto's reading of Donizetti's comedy is no laughing matter. 

“It’s just like learning to say Llanfairpwllgwyngyllgogerychwyrndrobwllllantysiliogogogoch!!” The Welsh bass-baritone reflects on learning the patter for his latest role, Donizetti's Don Pasquale. 

In Gergiev's late, late show, Mao Fujita impresses in Tchaikovsky, but episodes from Berlioz' Roméo et Juliette are given a Shakespearean speed read. 

William Alwyn's operatic take on Strindberg is rarely performed – a complete mystery considering this excellent concert staging at the Barbican by the BBCSO under Sakari Oramo.

The Royal Ballet season opens with a MacMillan favourite, his ballet adaptation of a novel more familiar for its operatic treatment. 

The Director of The Royal Ballet talks about the challenges of season planning, keeping everybody happy and two big new creations by Cathy Marston and Wayne McGregor. 

Exhilarating playing, but speed isn’t everything as Jonathan Biss opens his Beethoven cycle in London.

Vladimir Jurowski conducts Tchaikovsky, Britten and Scriabin viewed through Oliver Knussen's palette to open the London Philharmonic's 2019-20 season. 

Making its London debut, the BSFO and Jan Latham-Koenig make an impression in both British and Russian classics. 

An over-directed, but vivid staging demonstrating political rise and fall in Ancient Rome transported to the present day.

Akram Khan's bold reimagining of Giselle continues to go from strength to strength. After touring to venues from Moscow to Chicago, it returns to Sadler's Wells. 

Early and late Beethoven in the closing two recitals of Wigmore Hall's Beethoven Festival Weekend. 

At a time when the “relevance” is bandied around all too frequently in relation to opera, Martinů's really does deserve that tag.