Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Nicole Chevalier

Peter Konwitschny's production of La traviata has its flaws, but in an age of protracted media there is much to be said for his taut production of Verdi's most famous tragedy. 

House debutants, soprano Nicole Chevalier and conductor Lidiya Yankovskaya, excel in Isabella Bywater's Górecki staging to close English National Opera's season.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

Sam Brown's sparse production leaves nothing to focus on but the individual protagonists on stage. 

Peter Konwitschny's production strips away much of the religious symbolism, presenting the difference between Jews and Christians as little more than the dyed colour of their hands. 

Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.

Handel’s Semele is presented as a flashback at the Komische Oper in Berlin. 

A woman, mother and outcast needs to make life choices in a hostile environment.

Before the beginning of each opera, an announcement is made reminding the audience not to film, photograph, tweet, post, google, snapchat... Komische Oper Berlin premieres a hilarious Barber of Seville where the singers do nothing but just that.

There may be spiders, or zombies above your head. A spook show? Berlin's Komische Oper premiers a gothic musical theatre work by Heinrich Marschner... and it is a gory, good romp.

Barrie Kosky, with nods to the surreal and the macabre, plunges us headlong into Hoffmann’s nightmarish world in a terrific new production at the Komische Oper.

Benjamin Britten’s 100th birthday was celebrated on Thursday at the Berlin Konzerthaus with a spectacular performance of his seminal War Requiem.

Signs of birth and death – but moreso death – flash continuously through the Latvian director Viestur Kairish’s new production of Britten’s A Midsummer Night’s Dream, which opened the Komische Oper Berlin’s 2013/14 season.

Die Zauberflöte is a work whose outward simplicity masks internal complexity and even contradictions. Mozart’s music is childishly tuneful and yet reaches for the classically sublime; Emmanuel Schikaneder’s libretto alternates a magical quest story out of a German storybook with Masonic claptrap and secondhand Voltaire.