Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Andrei Bondarenko

Strong musical performances in a flawed and confused production revived for the autumn season at Glyndebourne. 

The Isle of the Dead and The Bells make gloomy bookends to the final concert of the season, but Mihhail Gerts makes a great case for both at the National Concert Hall. 

A beautiful 17th-century setting does nothing to dim the freshness and relevance of Sir David McVicar's production for Opera Australia.

If ever a new production of a Mozart opera had a riveting backstory, this one is it. 

The Netherlands Radio Philharmonic under the baton of conductor Vasily Petrenko uncovers the magic of Rimsky-Korsakov’s exotic score. 

Sir David McVicar’s new production of Pelléas et Mélisande for Scottish Opera is stylish and lit like a painting. 

In Donizetti’s most popular comic opera, the great mix of slapstick buffa and an obtuse venue make up the stuffs of what audiences continue to love. 

Zurich’s unexpected and original twists on Giacomo Puccini’s great opera was riddled with gimmickry. 

The bells of Mussorgsky, Rachmaninov and Pärt resound and reverberate in The Main Hall of the Concertgebouw.

Erratic tempi and unclear textures marr an otherwise engaging opportunity to hear a rarer Rachmaninov work alongside his evervescent Piano Concerto no. 2.

I have always been skeptical of concert performances of operas. Operas are written to be acted, and the staging is needed to complement the music. This is what I thought before I saw this performance of Ashkenazy conducting the Sydney Symphony Orchestra, Sydney Philharmonia Choirs and Sydney Children’s Choir in Tchaikovsky’s The Queen of Spades.