Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Christopher Moulds

“How Excellent.”  The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

The evening’s most revelatory performance came from the young countertenor Aryeh Nussbaum Cohen as Medoro. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

A flamboyant production and a wonderful cast of singers seals a big success for this gem of the early Baroque.

Two fine choreographers and the Orchestra La Scintilla heralded two world premiere performances of new ballets at the Zurich opera house.

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

Former RSC Artistic Director Michael Boyd imparts a distinctly Shakespearean flavour to Monteverdi's L'Orfeo in this first collaboration between the Royal Opera and the Roundhouse.

La finta giardiniera isn't one of Mozart's greatest operas. But this is about as good a production of it as I can imagine and makes for a deliciously light-hearted evening. 

Sasha Waltz's choreography-heavy production of Purcell's Dido and Aeneas at the Sydney Festival is both intruiging and distracting, giving the singers little chance to shine.