Live, Video: Find classical music concert, opera, ballet and dance reviews | Elena Zilio

This Strauss-Puccini Prom concert paired the Symphonic Fantasy from Die Frau ohne Schatten and Puccini's one-act opera, Suor Angelica. 

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

Questionable conducting aside, The Royal Opera's latest revival of Damiano Michieletto’s fluid production of the famous operatic double-bill is terrifically executed by two excellent casts.

With more cast reshuffles than in Downing Street of late, this revival of Damiano Michieletto's intertwined Cavalleria rusticana and Pagliacci double bill triumphs against the odds.

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

What do you do when your planned season opener bites the dust? Fly in the stars and put on a concert performance of a verismo favourite. 

Exceptional singing, an auspicious conducting debut and a staging that is both sophisticated and emotionally involving make this production an unequivocal winner.

Notwithstanding director Pippo Delbono's narcissistic excesses, his staging confirmed itself as effective and penetrating.

The French-Sicilian tenor shines in Sir David's McVicar's pristine take on Umberto Giordano's slice of verismo. 

The Rossini Opera Festival stages a new production of the most famous of Rossini’s masterpieces to celebrate the composer in the 150th anniversary of his death.

After its Christmas break, Cavalleria rusticana and Pagliacci return to the Royal Opera in Daminano Michieletto's arresting production. 

Even stronger than first time round, Michieletto's impressive staging is complemented by an outstanding double role debut from Hymel and a heartbreaking Santuzza from Elīna Garanča.

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

Anja Harteros shines in Umberto Giordano’s verismo opera, with a top class sound that trumps even Jonas Kaufmann’s comeback.

Juxtaposing Granados’ sensuality with the miserable story of Suor Angelica functioned by contrast, as they do not have anything in common.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

A gripping double bill of  “Cav &Pag” from Italian director Damiano Michieletto at Covent Garden includes a few surprise guest appearances. 

A series of cancellations resulted in an unusual triple bill: a rare Spanish opera, an impromptu concert by Plácido Domingo and Woody Allen's brilliant Gianni Schicchi.

Warlokowski's staging of Eugene Onegin for the Bayerische Staatsoper works from a bold premise: Onegin is gay. Strong musical and dramatic performances keep the concept coherent and interesting, but it ultimately doesn't convince.

Murder. Suicide. Grand larceny. Puccini's triptych of short operas, two tragedies followed by a riotous farce, always makes for an evening of variety, with the potential for many snatches of greatness.

Avec son ensemble Europa Galante, le violoniste et chef d'orchestre italien impressionne par la justesse de ses choix, tandis que Sara Mingardo incarne une admirable Pénélope.

Le metteur en scène allemand respecte le caractère propre à chaque partie du trittico puccinien, tout en tissant des liens subtils entre les œuvres.

Poulencs bekannteste Oper wird zum ersten Mal an der Oper Frankfurt aufgeführt.

Die Münchner Inszenierung des Andrea Chénier überzeugt mir großen Bildern, großartiger Musik und einer herausragenden Anja Harteros.

Sérieuse et sans condescendance, profitant d'un plateau vocal de premier plan, la mise en scène de Damiano Michieletto séduit le public bruxellois.

Cette nouvelle production munichoise d'Andréa Chénier donnée en version concert au TCE a su convaincre par sa juste distribution et par la grande qualité de l'ochestre et des choeurs du Bayerische Staatsoper qui l'accompagnait. Bien que laissant quelque sentiment de frustration du fait de l'absence de mise en scène, cette oeuvre peu programmée ces dernières années ne perd en rien de sa force réflexive