Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Jean-Christophe Spinosi

Cecilia Bartoli is joined by frequent collaborators Moshe Leiser and Patrice Caurier in a fun-filled Rossini farce full of Italian sunshine. Big grins all round. 

Lindy Hume's Victorian production brings to life Cinderella's story through the capable hands of Jean-Christophe Spinosi.

Verdi’s Otello opens with a fierce storm raging over Cyprus. In Rossini’s version, composed 71 years earlier in 1816, the composer eschewed the Cypriot setting entirely and the storm doesn’t take place until Act III, although last night a mighty crack of thunder resounded over the Théâtre des Champs-Élysées as the audience filed into the opera house. 

In times where musical luxury is sometimes associated with having a pop star perform a short “Happy Birthday” and a handful of songs in a private performance – and for a usually undisclosed (and indecent) fee, having a whole piece of music composed for an occasion, or organising a private performance by a famous orchestra, is almost unimaginable.

When Jean-Christophe Spinosi stepped onto the podium to conduct Le Comte Ory that night, he didn’t wait for his applause to cease, but instantly cued a hearty forte from the Ensemble Matheus, and consequently a few incredulous looks from the audience.

A significantly smaller than usual audience was present for the SCO’s ‘Symphonic Opera’ concert, the finale of its St Andrews season. In the days leading up to thee concert, there was some disgruntlement from people about the programme – “Another Haydn symphony” was a common complaint, the Orchestra having put on several in St Andrews recently.

For the late night prom on Monday, the French early music group Ensemble Matheus led by the flamboyant violinist/director Jean-Christophe Spinosi brought an entertaining and well-juxtaposed programme of baroque arias and concertos starring French countertenor Philippe Jaroussky and Canadian contralto Marie-Nicole Lemieux.