Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Richard Mosley-Evans

Conducted by Christoph Konz and directed by James Brining, Opera North’s revival of The Magic Flute remains an inventive reinterpretation of Mozart’s classic opera. 

The director Edward Dick and his designer, Tom Scutt, alternate between realistic and expressionistic images in their creation of grim spectacle.

Richard Farnes returns to Opera North to conduct and Sam Brown directs a concert staging of Wagner's final opera, Parsifal. 

Opera North brings Kurt Weill's “Broadway opera” Street Scene to the Leeds Grand Theatre in a thrilling production directed by Matthew Eberhardt and conducted by James Holmes.

At a time when the “relevance” is bandied around all too frequently in relation to opera, Martinů's really does deserve that tag. 

A daring double bill from Opera North and Phoenix Dance Theatre pairs Jeanguy Saintus' new choreography for The Rite of Spring with a revival of Christopher Alden's production of Gianni Schicchi. 

Opera North's Salome, conducted by Sir Richard Armstrong at Leeds Town Hall, caught the seductive frenzy of the opera.

If you had received an invitation to a masked ball at which there turned out to be no masks and no dancing, it's understandable you'd feel disappointed. 

Two parts of Puccini's triptych are directed by Michael Barker-Craven - Il tabarro and Suor Angelica - in brilliantly successful productions at Leeds Grand Theatre.

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.

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.

Mozart’s Così fan tutte is a comic opera filled with deceit, disguises and betrayal, all carried along by a breathtaking score and witty lyrics. What better way to start ETO’s Spring 2013 season than with a new rendering of this timeless work, in a brilliantly clever English translation by Martin Fitzpatrick.

With its small raised platform and steeply seated audience, the Linbury Studio Theatre was an auspicious venue for the English Touring Opera’s production of Peter Maxwell Davies’ chamber opera The Lighthouse (1979). The trelliswork of metal bars encircling the stalls and the bleak lighting effects gave this performance a befittingly industrial air.

When Emperor Überall decrees an all-pervasive war that will result in the death of his whole population, Death takes umbrage at the fact that his job is being usurped and, in the mother of all demarcation disputes, goes on strike.