Live, Video: Find classical music concert, opera, ballet and dance reviews | George Tsypin

In spite of somewhat limited dance vocabulary, American Ballet Theatre showcased its strength in dance actors presenting a very enjoyable Othello in New York.

Julie Taymor's whimsical 2004 staging of Mozart's Singspiel continues to please in the Met's condensed, English-language version.

A strong cast led by an energetic Pablo Heras-Casado struggles in the revival of Jürgen Flimm's ill-conceived 2012 production.

New York City's Metropolitan Opera restages its shorter, family-friendly version of Mozart's The Magic Flute with great music and delightful visuals.

Dutch National Opera revives Pierre Audi's acclaimed Die Walküre for the very last time.

A welcome return to London for America's oldest ballet company begins with a highly personal interpretation of Shostakovich in dance 

Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.

Jürgen Flimm bowed out of his role as Intendant of the Berlin State Opera with the German premiere of Salvatore Sciarrino's Ti vedo, ti sento, mi perdo.

The transfer of last year's Clemenza di Tito from Salzburg delights and irritates in equal measure.

The musical experience was dominated by the imagery making spectators feel, at least at times, overwhelmed.

With a light-voiced cast and gentle updating, the Staatsoper's new Manon Lescaut makes a good case for Puccini's difficult breakthrough opera.

Fabio Luisi conducts a solidly cast Guillaume Tell with panache, Rossini's final opera returning to the Metropolitan Opera after a long absence. 

A revival of Francesca Zambello's production of Prokofiev's Love for Three Oranges at the Sydney Opera House is a joy, thanks to the antics of Kanen Breen at the head of a strong cast.

A case of “seeing double” in Salzburg, as Cecilia Bartoli brings West Side Story to her Whitsun Festival. 

Jürgen Flimm takes so many liberties with Mozart’s La clemenza it should be re-titled “Tito’s Lament”.

Julie Taymor's production maintains the magic of The Magic Flute at Sydney Opera House. 

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence. 

The view of Jesus as the archetypal left wing radical, champion of the poor and dispossessed and scourge of the wealthy forms the foundation of John Adams and Peter Sellars’ oratorio The Gospel According To The Other Mary. A strong score and outstanding conductor and singers make for an impressive première.

Excellent singing and a stunning debut win out over relentlessly clever visual effects.

What happens when a hero comes home? The exploration of this question forms the basis of director Peter Sellars’ new production of Hercules at the Canadian Opera Company.

As the year of Wagner’s bicentennial approaches its end, De Nederlandse Opera concludes its latest revival of Pierre Audi’s Ring cycle with his 1998 production of Götterdämmerung.

Szenisch enttäuscht der Abend auf ganzer Linie, da Peter Sellars Regie lieb- und ideenlos daherkommt; musikalisch bleiben allerdings keine Wünsche offen! 

Dans une mise en scène sage de Peter Sellars, l'œuvre de Bellini, étrangement amputée de certains passages, ne remplit pas tout à fait ses promesses. Elle bénéficie cependant d'une belle distribution. 

Lange hat man Mozart in Salzburg nicht mehr so mitreißend erlebt. Mit dem neuen Titus gelingt Neo-Intendant Markus Hinterhäuser ein Coup, der erhoffen lässt, dass sich Salzburg einer neuen goldenen Ära entgegenbewegt.

Iolenta et Perséphone sublimées : vibrant hommage à la Lumière par l'Opéra de Lyon.