Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jamie Woollard

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

Aigul Akhmetshina is on the verge of becoming the definitive Carmen; in this first revival of Michieletto's 2024 production at Covent Garden, she delivers the standout performance. 

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek. 

It's been a long wait since Cardiff Singer 2015, but the Mongolian baritone gives an outstanding vocal portrayal of Verdi’s doomed jester at the Royal Opera House.

An opportunity to hear one of Respighi's operas in the UK is a real treat; the composer's take on Sleeping Beauty, La bella dormente nel bosco, is an ideal companion to to Ravel's  L'Enfant et les sortilèges in a terrific double bill at the Royal College of Music.