Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jonathan Best

Opera North's revival of Mozart's The Marriage of Figaro directed by Jo Davies and conducted by Antony Hermus at Leeds Grand Theatre is still full of comic exuberance.

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

Lloyd-Evans' new production of Mozart's classic might be traditional, but there's no lack of astuteness in his direction of his characters. Problems in the pit hinder an otherwise strong musical performance.

A resounding success at its 1709 première, Handel’s Agrippina gripped the ear and dazzled the eye at the Grange Festival in a hugely entertaining and powerful performance.

Renaud Doucet and André Barbe’s La bohème for Scottish Opera set in the jazz-age is packed with Parisian life. 

Stephanie Marshall's Romeo and Sarah-Jane Brandon's Giulietta make this production of Bellini's version of Romeo and Juliet utterly compelling.

Stephen Barlow makes the case for Beethoven's earlier version of Fidelio, but doesn't quite manage to convince.

A riveting account of Handel's Samson in Dublin, with Katherine Watson, James Gilchrist and Madeleine Shaw shining as soloists. 

Hirda is a Shetland name for a serious mess.  A forbidden love triangle with two ghosts to crank up the tension, this dazzling new opera mixes Shetland fiddle tunes with the classical and a sextet of clear passionate voices. 

Full of physical comedy, joyous and enthusiastic, Fiona Shaw's vision of Mozart's The Marriage of Figaro makes the most of its taut and energetic plotlines, intense charactisation and beautifully balanced music. 

There can be little doubt that two principal draws of the Buxton Festival are the annual opportunity to experience little-known and sometimes totally unheard-of repertoire and composers, and forgotten repertoire by familiar composers; the co-operation of such a festival committee, patrons and backers that supports the production of rare works is a gift to any artistic director – especially one as

The world of opera can sometimes be hard for the newcomer to love as there are often fiendishly complicated and frequently unbelievable plots to get to grips with. Jules Massenet’s opera Werther is happily none of these: it is a straightforward story of unrequited love.

Following acclaimed productions at Scottish Opera of The Marriage of Figaro and The Barber of Seville, recently revived, Thomas Allen returns to Glasgow to direct The Magic Flute.

Buxton, a small spa town in Derbyshire, has been home to one of the most imaginative and important festivals in Britain for over thirty years.

In the cosy confines of a packed Hampstead Theatre ENO’s English adaptation of Jacob Lenz produced an exciting, entertaining and emotionally draining 70 minutes of opera. Premiered in 1979 this is Rihm’s account of Sturm und Drang writer Jakob Lenz’s descent into madness.