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Vladimir Jurowski led the LPO in a thoughtful and though-provoking concert that paired Beethoven's only full-length ballet, the joyous and energetic Die Geschöpfe des Prometheus with Stravinsky's cool and melancholy Orpheus.
The Berliners' second concert comprised the core repertoire for which they are famous, Beethoven and Strauss. Under the dynamic baton of their incoming Principal, Kirill Petrenko, these warhorses were made fresh again.
The Minnesota Orchestra’s visit offered a chance to hear Gershwin’s Piano Concerto and Ives’ Symphony no. 2, though the former suffered somewhat from an absence of spark.
It's not easy to imagine a freezing Parisian attic when you're in the middle of the rolling Dorset countryside in a baking summer, but Dorset Opera's excellent production of Puccini's La bohème is atmospheric enough to do so.
To works by Mendelssohn and Schumann, Søndergård added music by two impressive female composers who died far too young and whose works are far less known than they should be, Lili Boulanger and Morfydd Owen.
From the stately front of The Grange, an impressive moustache looms large, welcoming the audience to a production of Rossini's masterpiece that baffles, confuses and delights the audience.
Classical Opera’s performance of one of Mozart’s earliest operas throbbed with youthful energy; a strong cast brought the humour to life and made up for any weakness in the score.
Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.
Thomas Adès continued his Beethoven cycle with the Britten Sinfonia in a superb performance of Beethoven's Sixthpaired with Barry’s marmite piece The Conquest of Ireland.
Kaufmann’s magnificent instrument was not seen at its best in songs by Strauss, but there was pleasure from his clear artistry and the interesting orchestral pieces played by the BBCSO.
The Orchestra of the Age of Enlightenment resurrected with 1926 silent film of Strauss' Viennese comedy – with the lost ending pieced together – and gave a commendable performance of the reduced score.
ETO's production of Mozart's nuptial comedy, being performed in towns across the country, lacks depth but has some terrific singing with a particularly fine Susanna from Rachel Redmond.
Sir Roger Norrington's all-Mozart feast was a joyous evening dedicated solely to playing as the composer and his audience would have recognised it. His affable introduction and the OAE's superb playing made a splendid evening.
Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.
