Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Leo Hussain

Olivia Fuchs solves the problems of Britten's thorny opera in a brilliant new production that hits the heights, featuring Mark Le Brocq as earthbound scholar, Gustav von Aschenbach.  

Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum. 

Without glitz, extravagance or the need to be expressly shocking, Robert Carsen's new production of Wozzeck at the Theater an der Wien is exceptional.

Maestro Leo Hussain’s translucent rendition of the score made Capriccio the crowning glory of the Santa Fe Opera Season.  

Johan Reuter leads an all star cast in a revelatory performance of George Enescu's masterpiece, aided by spectacular La Fura dels Baus staging.

The Rape of Lucretia may be something of a problem piece, but Fiona Shaw's production is an excellent piece of ensemble theatre set around some very fine performances of music of rare beauty.

I have no objection per se with naked women bathing in blood, masturbating to crucifixes or being flagellated by priests in confessional booths, but only if it somehow aids understanding of the story

The wide variety of music Vienna has provided over the last couple of centuries was effectively on display here in Auckland.

Béatrice et Bénédict is Hector Berlioz’s last work; he wrote it between 1860 and 1862 for the theatre that patron Edouard Bénazet had built in Baden-Baden, then Germany’s most chic health resort.

Written in 1819 and belonging to the opera seria chapter of Rossini’s career, the florid score of La donna del lago doesn’t so much respond to as resist its unabashedly romantic libretto.

Several audience members didn't bother to return after the interval, and there were a few walkouts even before that. It seems Christopher Alden's darkly brilliant new production isn't for everybody. But those of us who stuck it out for the full three hours were rewarded with a reminder that beneath the surface of the Shakespeare-based fairy fable lurk some disquieting truths.

"Intermezzo" has submitted an excellent and comprehensive review of the opening night of this classy new production, but I was so shocked to hear booing from neighbouring seats that perhaps I might be permitted to add this view from a relative opera novice? I've not seen this opera before, or even the Shakespeare play, so although I had nothing to compare it with, I also had nothing to miss in th