Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Alexander Roslavets

A chamber programme of Shostakovich’s private idioms and public masks

A perennially unsettling pair of complementary post-war masterpieces, conducted by Andrey Boreyko, and a moving return to London for Gidon Kremer. 

A welcome return to the Glyndebourne Festival for Melly Still's staging, which brings out the full emotional range of Dvořák’s fairytale of denial, heartbreak and forgiveness.

Johannes Laiacker’s inspired set designs were a perfect example of how a modern setting can avoid being gratuitously iconoclastic.

Neither Sir Walter Scott nor Donizetti were well served by the farcical staging, but finally bellissimo bel canto prevailed over the production.

At least the colour-coded characters in Andreas Homoki’s farcical production made it easy to know which team to barrack for.