Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Alejo Pérez

Not a great day for the patriarchy: Ersan Mondtag's gripping new Salome emphasises grotesque caricatures and ends with a bloody, plot-twisting coup d’état. 

A piecemeal evening of high musical values as the Adelaide Festival opens with short Stravinsky pieces rather than the usual substantial opera. 

Opera Ballet Vlaanderen are offering up the ultimate antidote to frothy Christmas traditions with an original double bill featuring two premieres.

Revolution is not for the fainthearted in Milo Rau’s decolonized production of Mozart's opera seria for Opera Ballet Vlaanderen. 

In Emma Dante's staging we are viewing an allegory of death as painted in the medieval frescoes of Italian cemeteries.

Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.

The finale was the dramatic and musical high of the night, when both Ana María Martínez and Mariusz Kwiecień let themselves cut loose, laying waste to the bare stage.

Ole Andreas Tandberg's production of Lady Macbeth of Mtsensk gets a revival in Oslo, and proves even more chilling than the first time around.

Death in Venice makes its première in Madrid with a rational and symbolic production by Willy Decker. 

The inability of human beings to communicate or even empathise, and the monstrous consequences that gap in misunderstanding leads to, is the foundational idea of Die Eroberung von Mexico, and Wolfgang Rihm’s dense and frequently brilliant music.