Live, Auf Abruf, Streamed event: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Brindley Sherratt

Àlex Ollé und sein Fura dels Baus-Team bringen eine optisch spektakuläre Norma auf die Bühne, die erste Covent Garden-Neuproduktion von Bellinis Oper in fast 30 Jahren.

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

André Barbe and Renaud Doucet's Magic Flute is ideal entertainment for a fizz-filled summer night.

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

Hats off to Andreas Homoki, Artistic Director at the Zurich Opera House, for staging a musical around “the chill of ghostly shadows”.

Mark-Anthony Turnage's First World War opera both moves and dazzles at the Barbican.

Omer Meir Wellber makes his first appearance with the BBC Philharminic since the announcement of his appointment as Chief Conductor Designate.

Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.

Antonio Pappano and the Royal Opera Orchestra get the Ring cycle off to a blazing start; unusually, it's Lise Davidsen and the female cast who take the vocal honours.

The annual transfer of a production from Glyndebourne to the Proms this year saw Herheim's baffling production of Debussy's masterpiece. 

Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

Glass' meditation on Gandhi's principles of non-violent resistance is powerfully treated in Phelim McDermott's virtuosic 2007 staging.

Robert Hayward was unafraid to 'go ugly' when need be in Jurowski's symphonically executed concert performance. 

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.

At the opera’s great climaxes Suffolk’s famous wood-and-brick building could barely contain it.

Gloriously sung and stylishly played, this Rosenkavalier is a feast for the ears and eyes and should be heard without delay. 

At the Barbican last night, Gerald Finley, John Adams and the BBC Symphony Orchestra combined to deliver the heaviest operatic punch I’ve been subjected to all year.

Billy Budd triumphs in Madrid thanks to an inspired orchestra, a solid cast and a dream team of stage magicians.

Anna Netrebko scored an unmitigated success in her first Manon Lescaut at the Met, almost obliterating director Richard Eyre’s and designer Rob Howell’s misconceived production.

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

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

Anyone expecting a wishing well, castle and healthy portion of pomp in Dmitri Tcherniakov’s new production of Pélleas et Mélisande is in for a big surprise.

The Met's new production of Manon Lescaut with Kristine Opolais and Roberto Alagna has great potential to be successful musically, but the production is mixed at best.

Bringing out the unabashed colour and detail of the score, Andrew Davis delivered a superb reading in the pit, tightly coherent and with exemplary attentiveness to articulation. 

What makes this Figaro memorable and admirable is the way it manages both to be sprightly in its tone and details and also luxuriant in places that another director might have blown through.

If Russia is a riddle wrapped in a mystery inside an enigma, then Boris Godunov is about five Russian dolls' worth.

A trip down memory lane sends our man in Aix into raptures as Robert Carsen's production of Britten's A Midsummer Night's Dream comes home to Provence. 

A bearded lady and her taxidermied shark are just two eccentric characters livening up Stravinsky’s 1951 moral fable The Rake’s Progress, though the shark is unique to Jonathan Miller’s revived production. 

A fine cast and orchestra revive Simon McBurney’s twilit, inventive Magic Flute at Dutch National Opera.

James MacMillan has honed his first opera Inés de Castro into an unmissable evening:  unspeakably gory but utterly thrilling.

Employing a new critical edition by Flora Willson, Mark Elder led the forces of The Orchestra of the Age of Englightenment in a concert performance of Donizetti's Les Martyrs, which demonstrates what a tremendous work it is.

A prelude that was pedestrian rather than portentous signalled Maurizio Benini’s approach to Rigoletto: Verdi as aural Ovaltine, tucked up in cosy dressing gown and slippers.

An impressive performance of Oedipus Rex under Sakari Oramo, demonstrating that his rapport with his new orchestra has grown rapidly. 

A feast of Strauss and Elgar delights all in Prom 19, featuring Vasily Petrenko, Inger Dam-Jensen, and the Royal Liverpool Philharmonic Orchestra.

Shadow puppet serpents and policemen in tutus: Moshe Leiser and Patrice Caurier's production of Die Zauberflöte is graced with a strong cast. 

Edward Elgar’s The Dream of Gerontius tells the story of a pious man’s death, his travels through Purgatory and finally being accepted into Heaven. It is perhaps not the most dramatic of tales, but one filled with a sense of redemption and intense spirituality. 

This BAM production of Benjamin Britten’s Billy Budd, imported from Glyndebourne, achieves the rare distinction of making a great performance out of a decidedly mediocre work.

Offenbach’s wrongfully neglected masterpiece has returned to us at last, thanks to the concerted efforts of Opera Rara, the Orchestra of the Age of the Enlightenment and Sir Mark Elder; and, above all, because of the tireless, lifelong devotion of one man: Jean-Christophe Keck.

Dancing teddy bears, a larger-than-life Sarastro, live birds and numerous airborn characters all make the brand new production of Mozart’s beloved Singspiel at the Staatsoper a very family-friendly event.

Peter Grimes may deserve the place it has gained in the operatic canon, but it’s not a work without problems.

The silence at the end of the concert said it all. To have plunged the attention of the entire Royal Albert Hall into utter silence for a whole minute after the music has finished was an impressive feat. Such was the audience response to Mark Padmore’s closing walk down the back of the stage, as Captain Vere.

You can view Britten’s Billy Budd as an opera about the failure of words. When the angelic sailor Billy is falsely accused by his superior office Claggart, his stammer prevents him from defending himself and he lashes out, fatally.

Of the various themes that make up Britten’s Gloriana, written to celebrate the coronation in 1953 and being given a rare outing at Covent Garden to mark the work’s 60th anniversary and Britten’s 100th, the most effective by far is a sort of operatic expansion of Shakespeare’s line “uneasy lies the head that wears the crown”.

How, I wonder, is it best for an opera company to treat a revival of a well-aired, well-liked, decent but not particularly radical production of a top ten opera? This was what the Royal Opera had to contend with in this season’s revival of David McVicar’s 2003 setting of Die Zauberflöte: many in the audience will have known every note of the opera, and several will have been thoroughly familiar wi

When going to see a new production at ENO, always expect the unexpected. In ENO’s recent history, that has certainly been true, though not always to its credit. Friday’s opening performance of Charpentier’s Medea was no exception to the rule; however, in this case, it was an opulent, stylish and fabulous (in more than one sense) production, complemented by a truly spectacular cast.

The Kings Place programme booklet for Since it was the Day of Preparation… folds like a thin papery triptych. Yet, the composer’s photograph does not occupy the central panel. Indeed, gushing verbal bombast, a feature all too common in performances of new music, was pleasantly absent.