Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Tamara Wilson

Gustavo Dudamel's concept of a semi-staged Fidelio in collaboration with Deaf West Theatre gives a voice to Beethoven so enormous that those with hearing impairments can surely hear.

The Met's new Lohengrin descends into old-fashioned hilarity, despite an excellent cast. 

The world could use a laugh... and Brian Garman and his team deliver belly laughs aplenty at the Mahaiwe Performing Arts Center. 

Mahler's Eighth was the composer’s “gift to the nation”; Dudamel’s performance was a gift to Los Angeles. 

Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.

A superb choral performance and some memorable solo moments bring Mahler's "Symphony of a Thousand" to life, even if the sheer energy of the Swedish Radio Symphony Orchestra turns frantic at times.

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

Francesca Zambello’s engaging Aida opened the season at Washington National Opera, eventually getting into its stride. 

At the Concertgebouw, the three soloist headed by Christine Goerke’s Brünnhilde’s lift the performance of Act III of Die Walküre conducted by Valery Gergiev to the Valhalla of music.

People who claim that opera is nothing more than a glorified pantomime would have their prejudices confirmed at Deutsche Oper Berlin's Un ballo in maschera. This is, however, high praise. It’s an evening of camp entertainment, not a philosophy lesson.

The summer’s extreme heat and lack of rain have created drought conditions in Atlanta. As fate would have it, the Atlanta Symphony Orchestra this week programmed two works drenched with water, albeit of the salty variety.

Electrifying playing under the baton of Giancarlo Andretta and a strong cast of singers convince that Verdi's I due Foscari deserves more than the occasional revival.

In the penultimate concert of the 2016 Proms, Marin Alsop drew together some impressive forces for Verdi's Requiem, led by the remarkable soprano Tamara Wilson.

Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.

Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera is – for him – a tame affair. 

It took me a while to warm to director Christopher Alden’s revisionist production of Johann Strauss II’s chestnut and whipped cream torte of an operetta, but gradually the outrageous battiness of it won me over.The story that Alden and his team fashion into a Freudian farce with touches of Bram Stoker goes like this.

The short life and terrifying death of Joan of Arc are the subject of Arthur Honegger’s Jeanne d’Arc au bûcher ("Joan of Arc at the Stake"), a curious masterpiece of an oratorio dating from 1938. The nearly-forgotten work received a well-deserved resurrection by Marin Alsop and the Baltimore Symphony Orchestra at Carnegie Hall on Saturday night.