Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Alexey Markov

Galina Cheplakova steps in for Sonya Yoncheva in the penultimate performance of this revival, winning over the audience with vocal clarity and dramatic commitment. 

The first of four Rachmaninov anniversary concerts shared by Zurich’s two fine orchestras is an audio feast, climaxing with the choral symphony, The Bells. 

Ildar Abdrazakov and Ain Anger excel in the confrontation of tsar and historian; Kaspar Holten's safe but effective staging focuses on the relentless march of history.

Valery Gergiev finally turns up to conduct an electrifying evening, crowned by Asmik Grigorian's full throttle performance as Liza. 

A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame. 

In Khovanshchina, even more so than in Boris Godunov, the chorus is the chief protagonist and the La Scala chorus was truly astonishing.

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

Isabelle Patriot-Pieri's new production is a quirky mix of traditional and the opposite; Netrebko shows her star quality; Eyvasov impresses.

As it turned out, the second performance of the Met’s revival of I puritani was the one to see – it offered some of this season’s greatest singing – and a surprise.

The role of the outsider struck a chord with Tchaikovsky, whose homosexuality alienated him from society. Stefan Herheim takes that identification as the central idea in his remarkable new production at Dutch National Opera.

During the Lucerne Easter Festival, Mariss Jansons conducted the Bavarian Radio Symphony Orchestra and Choir in three highly charged works. 

Both the staging and the music of the Bayerische Staatsoper's Traviata disappoint.

The Met's première of Iolanta and Bluebeard's Castle, delayed by snow, opened with powerful singing and deeply effective staging. Iolanta showcased beautiful singing from the principals, while Bluebeard's Castle showed off brilliant playing by the Met Orchestra.

Mikhail Kazakov gives a compelling portrayal of the troubled Tsar Boris, as Gergiev and the Mariinsky provide a great showcase for one of the masterworks of Russian music.