Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Olga Peretyatko

For his new staging of Rossini’s Guillaume Tell at the New National Theatre, Tokyo, director Yannis Kokkos avoids specific contemporary references, choosing a setting that transcends the times. 

The ROF presents a new, cheeky production of Adelaide, by Arnaud Bernard, based on a unoriginal but very well executed “meta-theatrical” take, with an exemplary cast.

Polish composer and Mozart contemporary Józef Kozłowski’s Requiem has long been abandoned, but its Asian premiere gives it a deserved new lease of life.

Sir Bryn Terfel relishes every nuance of the text, but Damiano Michieletto's reading of Donizetti's comedy is no laughing matter. 

Internationally acclaimed film director Wim Wenders and Daniel Barenboim give their debut with a rarely played opera by Georges Bizet.

The gambling tables and neon lights of Las Vegas might not be the images which immediately enter your head when you think of Verdi’s Rigoletto, but bold art is often created and progressed by the pushing of boundaries and by challenging audiences to reimagine the familiar.

In David Hermann's new production, confusion reigns, but the performance is saved by the singing. 

Does it really matter where an opera is set? These days, this question seems to trail Rigoletto. 

NSO's debuts for Maestro Donald Runnicles and soprano, Olga Peretyatko. 

After an absence of 145 years, Teato alla Scala staged Gioachino Rossini's Otello in a painterly Jürgen Flimm production, sparse set inspired by conversations with Anselm Kiefer.

Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues. 

There's much to recommend this Turco, including stunning vocal fireworks by Olga Peretyatko and moments of comedic gold in the staging. But this production also reinforces some ugly racial and gender stereotypes.

There is much to enjoy in the Met’s revival of its almost 40 year old production of Bellini’s I Puritani although almost none of it is visual, with Olga Peretyatko and Lawrence Brownlee both fitting the bill.