Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Glyndebourne Sinfonia

Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 

Bombastic Beethoven from Hickox and the Glyndebourne Sinfonia is followed by a memorable and powerful performance of Tippett's A Child of Our Time.

Elisa Verzier, making her Glyndebourne debut, is astonishing as Violetta in a revival of Tom Cairns' 2014 production. 

A revival of Mariame Clément's production of Rossini's less-loved comic gem provides the sense of Italian sun to warm the body and belly laughs to warm the soul.

Strong musical performances in a flawed and confused production revived for the autumn season at Glyndebourne. 

Strong solo and ensemble singing from a solid cast – with a last minute addition for Act 2 – make for a joyful revival of this much-loved production. 

A strong cast led by Bekhzod Davronov and Gabriella Reyes plus an intense production helps Floris Visser unusual staging of La bohème stand out from the crowd.

A memorable performance makes a worthy memorial to the late, great Bernard Haitink, who conducted the production's premiere. 

A vast panopticon cages strong musical performances in Wake-Walker's Fidelio at Glyndebourne, with Dorothea Herbert and Adam Smith standing out vocally and emotionally as Leonore and Florestan.

Not quite as innocent an account of opera buffa as others, but for quality of musicianship, Glyndebourne Tour's revival of Mariame Clément’s production of Donizetti's comedy hits all the right notes.

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

Blazers and breastplates! This Rinaldo is already eight years old! It’s played at the BBC Proms while almost 40 performances have graced Glyndebourne’s festival and tour up to now, so it must be doing something right.

The tears of a clown behind the public mask? Glyndebourne's first ever production of Rigoletto takes the audience to Hollywood in the silent film era. 

Annabel Arden's superb production of Donizetti's classic makes a welcome return for the Glyndebourne Tour in a taut revival led by two excellent principals.

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

An emotionally intense Violetta from Mané Galoyan in Tom Cairns' darkly challenging La traviata launches Glyndebourne Tour's 50th season

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

In Nicholas Hytner's chocolate box production, lovingly revived by Bruno Ravella for Glyndebourne's tour, Alfonso is the most charismatic character on the stage.

A revival of Arden's 2016 production of Rossini's Il barbiere di Siviglia is lifted by a strong ensemble cast for Glyndebourne's tour.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

How picturesque do you like your Puccini? Do you take your Turandot sweet or sour? How much lacquer is layered over your ideal Madama Butterfly?

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

David McVicar's production is visually stylish, superbly acted and the attention to detail is pervasive. Show-stealing acting from Franck Saurel's Selim and a fine Osmin from Clive Bayley help make this a memorable evening's opera.

Mariame Clément’s Glyndebourne production of Don Pasquale, revived here for the 2015 Tour, delivers its lesson particularly harshly. 

Tom Cairns’ Glyndebourne production features svelte costumes and sets, yet – unlike Verdi’s response to Marie Duplessis’ fate – Violetta’s tale left me entirely unmoved.

Slick, surreal and creepy, with a strong cast of exciting young singers: it's hard to imagine a Turn of the Screw better than Glyndebourne's Jonathan Kent version, revived for their 2014 Tour by Francesca Gilpin. 

La finta giardiniera isn't one of Mozart's greatest operas. But this is about as good a production of it as I can imagine and makes for a deliciously light-hearted evening.