Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Olivia Ray

At Gloucester Cathedral, works by Cecilia McDowall and Edmund Rubbra, despite their indirectness and small scale, make an impact even stronger then Beethoven.

Gwyn Hughes Jones, Elizabeth Llewellyn and Sir Simon Keenlyside star in David Alden's setting of Otello in a militarised Cyprus.

Ivor Bolton and Kit Hesketh-Harvey deliver a brilliant political thriller and anti-Putin polemic – at least for its first half.

Olena Tokar's assured coloratura made an immediate success of the waltz with her convincingly adolescent appearance, rhythmic verve and stylish phrasing.

Stylish, intelligent and visceral, with a magnetic central performance by Claire Rutter, Grange Park give us a powerful, tough La traviata updated to 1950s Hollywood.

When you think chic, black-tie country house opera, you probably don’t also think sixteen barefoot nuns being executed. Grange Park Opera’s fusion of these two contrasting ideas, however, has a lot going for it: their production of Francis Poulenc’s Dialogues des Carmélites combines its minimal but effective staging with some impressive singing.

With programming in the major opera houses dominated by Verdi and Wagner, bel canto fans have had a slightly thin time of it this year (Covent Garden’s La donna del lago is an exception). But others are filling some of the gaps, with Rossini’s Maometto II coming up at Garsington and Stephen Langridge’s production of Bellini’s I Puritani, which opened at Grange Park last night.

Howling, gusting wind. Damp, bitter cold. Dark, gathering twilight. Exactly the right atmosphere, you must agree, for Donizetti's Lucia di Lammermoor, based on Sir Walter Scott's romantic historical novel of dark deeds in the grim castles of the Scottish clans, which opened Opera Holland Park's new season.

Scottish Opera and Northern Ireland Opera's new version of Offenbach's Orpheus in the Underworld has been touring Scotalnd and Northern Ireland: it's now arrived in London for a short run at the Young Vic in London, in its 150-seater Maria hall alongside the main theatre.

In his wonderful BBC series on Italian opera, Antonio Pappano declared that "Puccini does love like no other composer," a phrase I've also heard from others.

La Forza del Destino isn't performed nearly as often as Verdi's most popular works: this year's production at Opera Holland Park is the first time it's been staged in the UK for several years.