Live, Video: Find classical music concert, opera, ballet and dance reviews | English | David Webb

Cecilia Stinton’s new production of Lucia di Lammermoor doesn't necessarily make best use of OHP’s performance space, but the singers excel. 

“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.

Weill's satirical fairytale bites just as hard today as it did in 1933.

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

A wonderful cast conducted by William Christie in a new production of L’incoronazione di Poppea at the Salzburg Festival. 

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

Lars Vogt, Royal Nothern Sinfonia and Chorus and a strong quartet of soloists bring the angelic tidings of peace and goodwill in Bach’s Christmas Oratorio.

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice. 

English National Opera's new Tristan is at its best when responding to Anish Kapoor's stunning stage sculptures.

This week, the annual London Handel Festival, now in its 34th year, opened with a new production of his opera Rodelinda.

If anyone tells you that all opera is highbrow, Offenbach's Orpheus in the Underworld provides you with a perfect example of the opposite. It's coarse, raunchy, fast, fun, and continually pokes fun at the conventions of grand opera.