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Andreas Homoki's meta-staging in Paris' Opéra-Comique cannot detract from strong musical performances at the Edinburgh Festival, led by Gaëlle Arquez as a near-perfect Carmen.  

Gorgeous French music, polished choral singing and excellent soloists are marred by an overwhelmingly dark timbre and unsympathetic video.

Laurence Equilbey makes a convincing case for a younger, fresher Fidelio played on period instruments.

The elegance of the First Symphony served as a perfect curtain raiser for the mammoth, exultant Ninth.

A disappointing staging of Weber's supernatural opera by Compagnie 14:20 in Paris

Palazzetto Bru Zane, spurred on by the zealous advocacy of conductor François-Xavier Roth, has turned to Saint-Saëns' very first opera, Le Timbre d'argent.

With the brilliant chamber choir Accentus and the recently formed period orchestra Insula behind her, Laurence Equilbey knows how to immediately captivate and move the modern listener.