Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Sarah Tynan

Zusammen mit dem Chor war für mich der Countertenor Iestyn Davies der klare Höhepunkt des Abends

English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

John Adams’ opera about Richard Nixon’s historic meeting with Mao Tse-Tung is performed with all round excellence, with a real find on the podium in the shape of Olivia Lee-Gunderman.

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

It’s the sprig of nightshade on a blood-red confection.

As the two sisters, Eleanor Dennis and Kitty Whately ideally complemented and blended with each other.  

The Planets and Sinfonia antartica could be the Cav and Pag of British music.

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

Garsington's latest Rossini buffa is on the nail orchestrally, mixed vocally and one of the best pieces of acting and stage movement you'll see in opera.

Christopher Alden's account of Handel's love pentangle is long on Man Ray imagery and modern language wordplay, but never hits the vocal highs and eventually palls.

The Hallé's oddly-ordered Ring arrives at the beginning with Das Rheingold.

A verdant and heavenly setting for The Creation

An evening of exceptional originality and daring in Snape Maltings – not to mention glorious music – got the Aldeburgh Festival off to a striking start for the 2016 season.

Weaknesses in the staging did little to dim the musical pleasure of hearing Sir Mark Elder conduct Weber's masterpiece with OAE forces and an impressvee cast

Sandwiched between Debussy’s charming Children’s Corner and Mahler’s invitation to heaven, Abrahamsen unveiled his piano concerto for left hand. It was certainly a night for stark contrasts in tone and theme.

Intelligently staged and brilliantly sung, Scottish Opera can be justly proud of their new production of Ariodante. It is all about the oranges really.

Cette nouvelle production du plus écossais des opéras de Haendel s’en tire avec les honneurs, malgré un orchestre à la peine.

Barrie Kosky's production, revived for the tour, turns Handel’s 1739 Old Testament oratorio Saul into a gripping psychodrama. 

Haydn’s late, lofty achievement has the august quality of a masterwork, coupled with cheerfulness befitting a summer series that ends in the month of August.

The LSO, led by Edward Gardner, delivered a moving and profound performance of Haydn's Creation despite the acoustic challenges of St Paul's. 

Any performance of Mahler's Eighth Symphony is a special event. This one was a thrilling end to the Royal Scottish National Orchestra's season.

Mardi 27 mai avait lieu au Théâtre des Champs-Elysées la dernière représentation de Tancredi, “mélodrame héroïque en deux actes” datant de 1813. Le premier grand opera seria de Rossini était servi par une belle distribution, assez efficace pour faire oublier par moments l’absence d’originalité de la mise en scène.

A great post-war classic by Henze in a strong new production from Welsh National Opera. 

In his production of Fidelio for English National Opera, director Calixto Bieito sets out to completely contradict the work’s central tenet.

There was an element of scenic continuity between the lush greenery and positively balmy Holland Park evening surrounding us, and the staging of Opera Holland Park’s production of L’elisir d’amore: in the background, a large greenhouse full of the brightest sunflowers; in the foreground, sunflowers dotted about the stage, and the back ends of two lorries plastered with a large image of a field of

It wasn’t surprising that English National Opera’s UK première of The Perfect American was one of the most eagerly anticipated productions of the summer. Based on a fictitious narrative by Peter Stephan Jungk, the opera offers a timely glance behind the plush curtains of Walt Disney’s animated feature films.

The inter-war years produced some of the most dynamic and popular choral works that have been composed since the 18th century. Tonight’s London Philharmonic Orchestra concert, conducted by Hans Graf, combined two very different results of this flowering. Both masterpieces in their own way, they unexpectedly complemented each other and made for an entertaining concert.

Three years ago, John Berry, ENO’s Artistic Director, invited acclaimed theatre director Rufus Norris to reinvent Mozart’s Don Giovanni. Unfortunately, it was not much of a success, and was panned by critics. This year, the production has returned to ENO, with some changes, albeit none that are particularly remarkable. ENO’s publicity machine has, this time round, gone on an advertising offensive.

The Roman emperor Julius Caesar’s entanglement with the Egyptian queen Cleopatra is one of the best-known love stories of all time, and the operatic re-telling by George Frideric Handel, with its incredible music and universal themes of war, passion and politics, is experiencing a resurgence.

For all their eagerness to embrace the new and radical, ENO are often at their best in more traditional fare. Jonathan Miller's delightful production, first seen last season, charms more than it challenges with a candy-coloured evocation of a more innocent age. The apple pie America of a 1950s prairie diner replaces the 19th century Italian village of Donizetti's original.

Unsuk Chin's music is extravagant. This must have been a shockingly expensive concert to produce. The stage at the Barbican had to be extended to fit the massive orchestra, and the whole middle section of the stalls was closed off for safety reasons. The two intervals lasted longer than usual because there was so much equipment to move.

On a dark and snowy night, a packed Wigmore Hall was captivated by the Early Opera Company's offering of Handel's Messiah - compared to some, an intimate performance with a dozen instrumentalists and a choir of 8, but which suited the surroundings to perfection.

Mozart's Don Giovanni is an opera that is most difficult to classify. On the one hand, it has many of the trappings of a traditional opera buffa: a fast-paced farce with people falling in and out of bed, master and servant switching clothes, a buffoon-like manservant sung in the bass register and so on.

Noseda is a persuasive champion of Dallapiccola's orchestral works. Two CDs [with the BBC PO] on Chandos, and talk of a third.So no surprise to find the early Partita programmed in this prom. It's a work of many colours, beginning with the dark low notes and steady rhythms of a solemn processional, which moves slowly into the sunny upland, guided by Yuri Torchinsky's limpid violin.

For the third of their major operas this season, the English National Opera chose Mozart's Idomeneo, one of Mozart's earlier masterpieces telling the story of the Cretan King Idomeneus's homecoming after the Trojan War.