Live, Video: Find classical music concert, opera, ballet and dance reviews | Michael Scott-Mitchell

Opera's greatest romcom glitters on its third outing at the Sydney Opera House. 

A mid-performance jump-in by tenor Thomas Strong saves the show on the opening night of this revival of Graeme Murphy's production.

John Bell's reworking brings Tosca to 1943 Nazi-ruled Rome, featuring gorgeous sets and Carmen Giannatassio's striking Opera Australia debut in the title role.

Strong singing but a stellar orchestra and staging make for a riveting production at the Kennedy Center. 

Graeme Murphy's new Madama Butterfly opens with arrestingly kinky imagery and heavily exploits digital projections thereafter, but the joy of the production is in the uniform excellence of the performers, headed by the outstanding Karah Son in the title role.

Joyful, enthusiastic singing, dancing and music combined for a very entertaining The Merry Widow with delightfully cast lead roles. 

The audience for The Met's first performance of La fanciulla del West this season arrived loaded for bear. Not only were they disappointed that Jonas Kaufmann was not singing (he's slated for shows starting 17th October), but their disappointment was heightened by the fact that tenor Yusif Eyvazov was singing.

Charming and hilarious by turn, this production fields a largely young and Kiwi cast.

Remarkable singers and magnificent sets successfully transpose Puccini’s Tosca to Nazi-occupied Rome, bringing home the horror of tyranny and how possible it is to occur.

One of the world’s great Carmens and John Bell’s smart direction is a winning combination for this Opera Australia production.

Splendid performances and a Nazi makeover turns Puccini's political tragedy into a visceral experience.

The Met brought back a 20-year-old traditional production of Simon Boccanegra with a starry cast led by James Levine.

First presented in Perth in 2002, West Australian Opera’s Il trovatore (a co-production with Opera Queensland and State Opera of South Australia) is dedicated to the memory of director Elke Neidhardt, and here the stage becomes hers.

La célèbre mais parfois controversée œuvre de Georges Gershwin, composée en 1935, s’arrêtait pour une semaine de représentation à Odyssud avec l’orchestre, les solistes et le chœur du New York Harlem Theater.