Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jeffrey Lloyd-Roberts

Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

Smyth's rarely performed tale of evil deeds on the Cornish coast provides searing drama marred by poor intelligibility and an overpowering orchestra.

Editor Ben Willis almost convinced me that two grown men could fit inside grandfather clocks

Glyndebourne welcome audiences back into the house with a one hour Offenbach operetta whose comedy and plot lines are thin but which still delights.

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

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

La production de l'année pour l'Opéra de Lyon ! Warlikowski livre une interprétation particulièrement efficace du chef-d'œuvre de Janáček, entre parabole poétique et réalisme cru.

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

A period-perfect Albert Herring from Francis Matthews for Buxton International Festival takes time to settle into its stride, but provides plenty of laughs along the way. 

Two world premières commissioned by the RCO are polar opposites in terms of emotional temperature.

An excellent performance of Sir Harrison Birtwistle’s The Last Supper receiving its Scottish première, with Roderick Williams and Susan Bickley heading a luxury cast.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

Flight represents a brave new departure for Opera Holland Park, the first contemporary opera to take to its main stage, in a striking staging with top quality musical performances. 

From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention. 

As a very generous birthday present for ‘Accrington’s Finest’, Harrison Birtwistle, the BBC Symphony Orchestra and Martin Brabbins pulled out all the stops to give a revelatory performance of the composer’s most Wagnerian opera, Gawain.

A very welcome and triumphant revival of Peter Grimes begins Opera North’s Festival of Britten season, soon to be followed by A Midsummer Night’s Dream and Death in Venice. The work has often been described as Britten’s greatest, the paeans of praise beginning soon after its first performance just after the Second World War, often involving the word “enigma”.

In a castle in mediaeval Denmark, King Waldemar and Tove sing rapturously of their love. But dark deeds are afoot: a Wood Dove tells us that Tove has been murdered by Waldemar's jealous queen, Waldemar berates God, he and his men are condemned to rise from their graves every night and ride in a wild hunt - all this to the accompaniment of a giant, brass-laden orchestra playing a lush, opulent symp

Queen of Spades began life as a sharp little ghost story by Alexander Pushkin, quite different in tone and spirit from the melodramatic adaptation by Modest Tchaikovsky, who wrote the libretto for his composer brother.

The eponymous heroine of Dvořák’s Rusalka is a water-sprite from the woods and lakes of Middle European fairy-tale, very much the territory familiar to ballet lovers in Giselle and Swan Lake.

In a promotional video for Opera North's new production of From The House of the Dead, director John Fulljames gives us two seemingly opposing views on Leoš Janáček's final opera- that it is “the most intense opera of the twentieth century,” but also a piece in which “very little happens.