Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Morgan Pearse

Leider litt die rekonstruierte Weihnachtsmesse der Gabrieli Players an ein paar „Aufführungskrankheiten“.

Apartment House ist es gelungen, einem breiten Publikum die Möglichkeit zu geben, diese nachdenklich machende und die Fantasie beflügelnde Musik kennenzulernen.

Pinchgut Opera always has a lot to offer, but this time their delivery proves patchy in ‘Coffee and a Dead Canary’. 

The State Opera of South Australia presents a lovely production of Humperdinck's Hänsel und Gretel with first rate singing, acting and orchestral playing.

Cecilia Stinton’s new production of Lucia di Lammermoor doesn't necessarily make best use of OHP’s performance space, but the singers excel. 

A hoary old production of an operatic warhorse is brought to quite energetic life by a sparkling cast and excellent musical and dramatic performance.

A 16-year interval sounds more like a resurrection than a first revival, but the return of Stephen Barlow's staging of Tosca is well worth the wait.

When is a work actually finished ? Only when composer, publisher, editors and performers agree that it is... Sakari Oramo conducts the London premiere of Knussen's Cleveland Pictures. 

The London Handel Festival offers a chance to hear rarely performed music for Passiontide, with Harry Bicket conducting the English Concert. 

This sparkling successful production of Rossini's popular masterpiece delights the crowd on its opening at the new home for opera in Adelaide.

Charming and hilarious by turn, this production fields a largely young and Kiwi cast.

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!

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. 

A wittily staged, but variably sung twelfth revival of Jonathan Miller's production at the Coliseum. 

“He’s not an opera director. He’s a very naughty boy!” Three years after his surreal Damnation of Faust, Terry Gilliam tackles more Berlioz for English National Opera in the shape of Benvenuto Cellini, striking gold again.

Despite a disappointingly static production, the cast shine in the Royal College of Music's producion of Handel's rarity Arianna in Creta.

Imeneo (1740), Handel’s penultimate opera, is atypical on several fronts. It’s relatively short by Handel’s standards (three acts, under two hours of music); the plot is thin, but not as absurd or complicated as those of some of his other operas (there are no disguises, for example); the title role is composed for a bass; and the opera has a chorus which participates in the plot, rather than just