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Though it has strong dance scenes and great comedic flair, Lost Dog’s deconstruction of Hamlet doesn’t quite take flight. 

The UK premiere of Dai Fujikura's Radiance appears alongside Elgar and Beethoven, conducted by Karina Canellakis.

Two operas on marital discord by Bernstein and Menotti come with a content warning in Guildhall's delightful double bill.

Annilese Miskimmon’s new production for English National Opera promises a “reimagining” but is a problematic disappointment. 

Dalia Stasevska rarely lacks ambition, but her programme of Barber, Lyatoshynsky and Caroline Shaw is something of a curate's egg.

Charles Owen and Katya Apekisheva give an enthralling performance of one of Messiaen's wartime epics, and vivid evocations of two pieces by Sir George Benjamin.

The small company highlights the merits of Halévy's forgotten La Dame de pique, aided by strong musical performances.

Ginger Costa-Jackson is no stranger to Carmen, and in her latest assumption of the role she brings a countercultural flair to the doomed gypsy.

A strong cast led by Jacquelyn Stucker revive Philip Venables’ convincing operatic take on playwright Sarah Kane's final testament.

London City Ballet are back on at Sadler’s Wells in an intriguing double bill comprising John Neumeier’s Ghost Light and Glen Tetley’s Firebird. The company is looking stronger than ever.

Seong-Jin Cho gives an impressive performance of Tchaikovsky’s First Piano Concerto, and Santtu-Matias Rouvali crafts a mesmerising reading of Shostakovich's 11th Symphony, free of sentimentality and bombast.

After a busy tour, the London Symphony Orchestra opens its home season with a performance of Gustav Mahler’s mighty Resurrection Symphony. 

Transferring from Manchester to London in expanded form, ENO stage a bruising, uncompromising allegory of modern slavery.

Celebrating 25 years of Ballet Black, Hope Boykin’s ...all towards hope and Mthuthuzeli November’s Ingoma showcase the company at its best.

Sir Kenneth MacMillan’s Manon with The Royal Ballet looks every bit as good as it did back in 1974. There is a reason why it’s stood the test of time. 

Acclaimed mezzo-soprano Fleur Barron leads an evocative journey through loss and lonliness with an engaging discourse between Schubert and Kabuki.  

Figure and Alkanna Graeca explore a shared vocabulary of lament, moving from Georgian and Epirotic songs to Monteverdi and Strozzi without a seam.

She's never seen, but always felt: the girl from Arles wreaks havoc in a new staging of Daudet's play with Bizet's incidental music. 

Some highlights and occasional disappointments in an overly long performance celebrating 100 years of the Royal Ballet School.

Acosta Danza has always had an adventurous taste in commissioning choreography. In this programme, the revival fared better than the new commission.

In The Royal Opera’s latest Wagner outing, Jakub Hrůša and the orchestra give a performance for the record books, while Evgeny Titov creates intelligently nuanced dystopia.

A mix of fast-paced, characterful whimsy and tragedy in this diverse programme from Northern Ballet, which has become a very welcome part of London’s autumn dance calendar.

Jamiel Devernay-Laurence’s Ballet Nights is celebrating its third birthday. Initially a more intimate affair at The Lanterns Studio Theatre, Ballet Nights has grown into a regular feature on the dance calendar.

Edward Gardner conducts an exceptionally fine account of a work that is taxing to prepare – and even, in some senses, to hear.

Swedish folk musician Ale Carr joins the multi-faceted Finn and Aurora Orchestra in an unconventional but brilliant take on Vivaldi’s Four Seasons.

In Rhythm Riot, English National Ballet presents a triple bill joined together in quality and contrast like matching pieces of a jigsaw.

Pablo Ferrández, Julia Fischer and Jan Lisiecki steal the show at this heartwarming anniversary performance.

“Have I just written sacred music, or rather, sacrilegious music?” Rossini's Petite messe solennelle dons a period instrument mantle with the Orchestre Révolutionnaire et Romantique at London's Alexandra Palace.

Glittering Monteverdi from I Fagiolini with the English Cornett and Sackbut Ensemble at Kings Place, with standout soloists including Nicholas Mulroy.

Sean Shibe's refined guitar and the vivid playing of the London Mozart Players made for an engaging evening in the intimate setting of St Martin-in-the-Fields.

Alvin Ailey American Dance Theater present an electrifying programme of legacy works that cannot fail to impress. 

Lisette Oropesa leads a strong cast in an engaging revival of Richard Jones’ eye-catching account of a Handel masterpiece. Thomas Mayes' performance as Oberto marks him out as a talent to watch.

Alvin Ailey American Dance Theater return to London’s Sadler’s Wells in a winning programme of new works closing with the enduringly successful Revelations.

The beautiful setting of Southwark Cathedral elevates the atmosphere of this moving memorial to the thousands who died on 9/11.

Absolutely first rate production with outstanding performances. The McRae/Vassilev Project was a masterclass in resilience and major talent.

An attempt to recover Mahler's original sound world yields compelling, not always convincing results at the BBC Proms. 

With its busy videography, Kasper Holten's 2014 production returns, vibrantly conducted by Stefano Montanari. 

At just 50 singers, the choir of Arcangelo produce a remarkable feat of choral singing to bring Bach's masterpiece to life at a packed Royal Albert Hall.

Don your VR headsets and enter a small bunker in the basement of the Royal Festival Hall to experience an immersive odyssey featuring an avatar of the superstar pianist. 

Paweł Kapuła and the BBC Scottish Symphony Orchestra make hay with a variegated Proms, opening with Hans Werner Henze's orchestral fantasy on Schubert’s Erlkönig.

Isabelle Faust joins the FBO for a performance of Schumann's Violin Concerto, a work embargoed by the composer's friends after his death. 

Making his BBC Proms debut, Lahav Shani brings the Munich Philharmonic, days before becoming its new Chief Conductor. 

Simone Lamsma is the soloist in Britten’s Violin Concerto, holding the Proms audience in the palm of her hands.

She came, she saw, she conquered. Serbian soprano Radoslava Vorgić steals the show as a radiant Cleopatra in Grimeborn Opera Festival's Giulio Cesare in Egitto. 

Moving Elgar and gripping Tchaikovsky from the Berliner Philharmoniker and their Chief Conductor Kirill Petrenko, effortlessly at the top of their game.

Les Siècles and Jakob Lehmann are joined by four fine soloists for Berlioz’s “dramatic legend” on Goethe's Faust. 

The New Yorkers show their qualities in a blissful Mahler Fourth, with soloist Joyce DiDonato also wowing the Royal Albert Hall.

Yannick Nézet-Séguin returns to the Proms with an all-Strauss programme, bringing his charges from the Metropolitan Opera, New York, and soprano Elza van den Heever for a slice of Salome.

Gautier Capuçon's devotional performance of Dvořák’s Cello Concerto shares the limelight with Alain Altinoglu's pulsating performance of Varèse’s Amériques.