Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Christina Gansch

This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.

While the semi-staging falters, Hanna-Elisabeth Müller and Magdalena Kožená prove a thrilling pair in Mozart's final opera seria. 

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

The BBC Symphony Orchestra in exceptionally fine form under Semyon Bychkov explore the links from Schubert to Mahler and the present-day Glanert.

The evening’s most revelatory performance came from the young countertenor Aryeh Nussbaum Cohen as Medoro. 

Designer/director Antony McDonald treads a perfectly weighted path between light and dark of the fairytale; conductor Sebastian Weigle cooks up a Wagnerian storm; Michaela Schuster steals the show. A treat.

The annual transfer of a production from Glyndebourne to the Proms this year saw Herheim's baffling production of Debussy's masterpiece. 

Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

Pianist, composer and polymath Stephen Hough joined The Prince Consort for an evening of intriguing and startling gems, and a world première of Hough’s own witty, intricate, intimate and beautifully arresting art songs.

An old instrument, a veteran star singer, and a late rose all bloom at Oxford's annual songfest.

Any production of Le nozze di Figaro in which both Marcellina and Barbarina give star performances is ensemble casting at its finest.

Gansch and Martineau fail to dazzle in an unchallenging programme of bucolic and playful Lieder.

Metastasio's tale of noble Roman suicide was made into a pasticcio by Handel in 1732: and, after 283 years of silence, returned to the London stage as part of the 2015 London Handel Festival. 

It often takes time to adjust to Nikolaus Harnoncourt's tempi, but this concert performance of Mozart's Le nozze di Figaro enabled the audience to discover new colours in a well known score.