Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Charles Rice

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

Miller's production, running since 1987, is starting to show its ago, but an excellent performance from Anna Devin keeps English National Opera's latest revival moving.

When done as well as this, a "concert staging" is not oxymoronic, but a precise term for a valuable mode of presentation.

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

From the stately front of The Grange, an impressive moustache looms large, welcoming the audience to a production of Rossini's masterpiece that baffles, confuses and delights the audience.

Even in a festival like Wexford’s, you cannot resist the attraction of a beloved opera that you know by heart.

Franco Alfano’s name is inextricably linked to that of Puccini, as he’s mostly remembered for completing the unfinished score of Turandot, and has overshadowed his own operas. 

When an enormous black gondola creaks and shudders its way across the stage in the “Giulietta' act of the Royal Opera's Tales of Hoffmann, it acts as a metaphor for John Schlesinger's venerable production.

“Community, exclusion, rejection and desire”, writes director Christopher Rolls about English Touring Opera’s production of Albert Herring. “Doesn’t sound like a recipe for an uproarious comedy does it? And the key thing about Herring is that it is very very funny.

The Royal Academy of Music has a small but beautifully refurbished theatre, the 230 seat Sir Jack Lyons Theatre, where it stages full opera performances. Although many of the seats are taken by Academy staff, performers' friends and families, talent scouts and others with specific reasons for being there, some of the tickets are available to the public.