Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Sara Jakubiak

Nelsons stresses refined dynamics, rhythmic drive, balance and contrast as he closes the Beethoven Festival in style. 

Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.

After a rare treat to hear Tippett's commemoration of King Charles' birth and Alina Ibragimova's Mendelssohn, the crowning achievement of this concert is Edward Gardner's majestic reading of Janáček's Glagolitic Mass.

More of a distraction than an enhancement, Ulrich Rasche’s giant steel machine grinds down the performers of this dark Elektra, which ultimately stumbles over its own feet.

The performance of Wagner’s Lohengrin transcends Andreas Homoki's curious staging, redeemed by vocal and orchestral performances that shine in their nuanced artistry.

If you have dismissed this opera as overstuffed kitsch in the past, you might want to take a look at this production. It could well change your mind.

American singers Clay Hilley and Sara Jakubiak offered performances of distinction in two fiendishly difficult roles.

In Robert Carsen's staging, the “dead city” is absent: the scenery showing a bourgeois room that one imagines overlooking a bright avenue in Vienna or Berlin rather than a dark alley in Bruges.

Edward Gardner opens the Hallé's Thursday series with dramatic Strauss and Janáček.

The Komische Oper's new staging of Korngold's opera doesn't quite offer the necessary scale or atmosphere. 

Die tote Stadt’s bid for the mainstream proceeds with a musically strong revival of a perceptive if flawed staging at Oper Frankfurt

Military service brutalises. If you’re in any doubt about this, Berg’s short opera Wozzeck should dispel them, and particularly so in Carrie Cracknell’s new production for ENO.

Benjamin Britten’s 1954 opera The Turn of the Screw is a sensible choice for the New York City Opera: its chamber orchestration and emotional intimacy make it unsuitable for production by the Met Opera (against which every other company in town must define itself), and its claustrophobia would seem to offer a great opportunity for one of the company’s more innovative directors to create something

It was a glass-smashing, balloon-popping, bearskin-wearing, strip-out-of-your-swimsuit-onstage kind of afternoon at the Gerald W. Lynch Theater for the opening of New York City Opera’s second production of the 2012 season, Mozart’s Così fan tutte.Even for people who’ve seen this opera before, I’ll bet they’ve never seen a Così like this one.