Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Harry Fehr

Presenting a work like Carmen is a punchy move by a conservatoire. The Royal Academy of Music's production has conceptual weaknesses, but features some good singing. 

Harry Fehr’s directorial debut for ENO transposes Donizetti’s tale into a World War 2 setting. Rhian Lois charms and commands as Adina.

The evening’s most revelatory performance came from the young countertenor Aryeh Nussbaum Cohen as Medoro. 

A fine cast convinces in Dutch Reisopera's new Tosca, staged in a dystopian police state.

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

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.

Fine soprano performances from Ruth Jenkins-Róbertsson and Victoria Simmonds can't save Ambroise Thomas's inanimate object of a plot. Thank goodness Wagner saved us from more of the same. 

With Lawrence Zazzo's spectacular counter-tenor voice, Handel's Orlando finds an ideal interpreter.

In Harry Fehr’s much-anticipated new production of The Flying Dutchman for Scottish Opera, the setting is in Scotland – as Wagner had originally intended before a last-minute switch to Norway during rehearsals for the first production in 1843.

The last opera of the Mozart/Da Ponte cycle – the second of the composer’s operas to be performed in this Mozart-dominated season at the Royal Opera House – Così fan tutte pivots on two pairs of young lovers whose affection is put to the test by an old ‘philosopher’, Don Alfonso. Women, the old man argues, are all the same: never constant in their love, never loyal to their men.

Otto Nicolai’s very German take on Shakespeare’s The Merry Wives of Windsor was a big hit in the mid-19th century but has been infrequently performed since then, largely because Verdi’s version, Falstaff, completely eclipsed it.