Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Meredith Arwady

A piecemeal evening of high musical values as the Adelaide Festival opens with short Stravinsky pieces rather than the usual substantial opera. 

The English theatre directs turns his hand to opera with a staging of Gounod's take on Shakespeare's star-crossed lovers. 

Glimmerglass Opera Festival’s production of Candide leans heavily on a dry comedic sensibility, which most of the cast execute admirably.

Tomer Zvulun's mostly traditional account of the Tchaikovsky masterpiece arrives at Seattle Opera in an attractively staged but underwhelming package.

Santa Fe Opera's colorful and beautifully sung The Golden Cockerel makes a case for more Rimsky-Korsakov opera in the repertoire.

Washington National Opera continues its cycle of social justice operas.

Frankfurt Opera's 2012 production of Götterdämmerung with its emphasis on the contemporary human issues was a successful conclusion of the revived Ring.

The third installament of the Ring in Frankfurt took full advantage of the architecturally ingenius set to complement great music making by the orchestra and singers.

Sebastian Weigle leads a somewhat light-footed but satisfying account with a fine orchestra and good ensemble of singers in an architecturally stunning production.

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.

The view of Jesus as the archetypal left wing radical, champion of the poor and dispossessed and scourge of the wealthy forms the foundation of John Adams and Peter Sellars’ oratorio The Gospel According To The Other Mary. A strong score and outstanding conductor and singers make for an impressive première.

It may have taken Verdi’s bicentennial to bring Falstaff back to the San Francisco Opera, but at last the knight has returned to the company’s stage for the first time in over a decade...

All things considered, this Met Siegfried was a mixed affair. There was much to enjoy and much to marvel at; there were times where the performance felt as if it might achieve real lift-off, but it never quite achieved the sustained momentum of Friday's Walküre.

Quite simply, it’s the largest scale event in all of opera. With 18 hours of music in a 3,800 seat house, Wagner’s Ring Cycle at the Met is a giant, lavish undertaking – all starting with that famous E flat chord: starting from the quietest of pianissimo double bass notes and building for nearly four minutes before it explodes into the melody of the Rhinemaidens.

Read our review of Penny Woolcock's production of Doctor Atomic by John Adams, in its 2008 broadcast from the Met Opera in New York.