Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Lorenzo Viotti

The Swiss conductor returns to the Accademia Nazionale di Santa Cecilia, presenting a triptych of pieces by Schumann, Debussy and Zemlinsky inspired by the season of renewal.

Johann Strauss II's Die Fledermaus, was never meant to challenge grand opera for profundity and Barrie Kosky pokes fun at Viennese high society in his riotous staging. 

Barrie Kosky brings his trio of Puccini productions to a close with another triptych: Il trittico in a triumphant staging. 

Jan Philipp Gloger's production returns to Amsterdam with a superb cast led by Maria Bengtsson and Angela Brower. 

Barrie Kosky's psychological thriller approach to Tosca at Dutch National Opera benefits greatly from the strong performances of its three principals.

Tchaikovsky's Serenade for Strings and Rachmaninov's Second Symphony are given urgent, ardent readings by the Filarmonica della Scala. 

Olivier Py's new production at La Scala is inspired by art depicting the Temptation of St Anthony, but turns out to be disappointingly tame.

Lorenzo Viotti conducts a programme of familiar favourites including a speedy Prokofiev “Classical” Symphony. 

Kálmán's operetta brilliantly updated to the super-rich of today, with starry singing from Annette Dasch and Pavol Breslik.

Yefim Bronfman's performance of Mozart's Piano Concerto No. 24 highlighted Maestro Lorenzo Viotti's guest-conducting appearance with Montreal's Orchestre Symphonique.

Piano icon Yuja Wang was an often self-effacing yet effective soloist in Rachmaninov’s neglected Piano Concerto no. 4. Poulenc’s 1948 Sinfonietta received its first Cleveland Orchestra performance since its 1949 US premiere here.

Exceptional singing, an auspicious conducting debut and a staging that is both sophisticated and emotionally involving make this production an unequivocal winner.

Viotti will return to La Scala to conduct Gounod's Roméo et Juliette in 2020. The programme this time round gave an indication of some of the positive qualities to expect. It also warned of some potential pitfalls.

This was less a concert of two halves than one of two tenors: able to dramatise the music of Puccini and Verdi far more effectively than his earlier Mozart, Flórez came alive.