Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Marianne Crebassa

Sir George Benjamin and Martin Crimp’s fourth opera shares the best qualities of their previous work but is an inspiring, breathtaking fable.

“Go big or go home” could easily have been the motto of this summer’s festival. Muti didn’t just go big. He went huge. 

It's difficult to believe Salzburg could have cast a finer Così in Loy's Covid-reduced production in the Großes Festspielhaus.

Marianne Crebassa and Maxim Mironov shine in a revival of Rossini’s masterpiece, for an evening of great fun.

Marianne Crebassa and Esa-Pekka Salonen take the audience on a dazzling musical journey from Rome to Asia.

The performance of the young French mezzo-soprano was admired more for its correctness than for its seductiveness.

Two rarely performed works are showcased by the Staatskapelle under Daniel Barenboim.

Synergies between singers compensated for accurate but unexciting orchestral playing.

Director Davide Livermore updates the plot to the period of the Russian Revolution, October 1917, a far echo of that turning point in 1403 when the Ottoman sultan Bajazet was defeated by the Tartar Timburlaine.

Staggering performances from Esa-Pekka Salonen and Philharmonia in John Adams’s sonic journey, Naïve and Sentimental Music, and Marianne Crebassa exquisite in Ravel’s Shéhérazade.

With barely time for coffee and baklava after the Orchestre Pasdeloup's Arabian matinee, I stepped boldly back into the harem for a rendezvous with the Orchestre National du Capitole de Toulouse. 

Nothing is better than when Berlioz ramps up the decibels. With a huge orchestra and choir and a deluxe starry cast assembled in Strasbourg, this was a special performance. 

At La Scala, Milan a disappointing tribute to Giorgio Strehler's historic staging of The Marriage of Figaro by young English director Frederic Wake-Walker. 

The singing is the main attraction in Dutch National Opera’s Le nozze di Figaro, but this new production is also entertaining and looks good enough to eat.

If the production is full of pleasures, they do not immediately or obviously connect to a sense of some larger plan, which might have been helped along with a more dynamic set.

Whimsical program of French symphonic and operatic works opens the CSO's "French Reveries and Passions" festival.

Gounod's Faust returns after 45 years to the National Dutch Opera, and this new production directed by Catalan theatre company La Fura dels Baus, lead by a fine cast and conducted by Marc Minkowski is nothing short of spectacular.