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

Between gigs at Wembley as Coldplay’s support act, the Simón Bolívar Symphony Orchestra brings its distinctive brand of infectious music-making to the Southbank.

An evening of audience roars begins as soon as Gustavo Dudamel first mounts the podium at the Barbican. 

Yannick Nézet-Séguin invites the Marcus Roberts Trio in place of a traditional soloist, and the group brings a freewheeling, improvisatory touch to Gershwin's masterpiece. 

The classical singer's repertoire encompasses showtunes, spirituals and folk songs, alongside a more traditional selection of Lieder.

The Prague National Theatre serves up a bright finish to its insightful, troubling tour of interwar music. 

Heinrich Heine settings by Schumann and Schubert are counter-balanced by Duparc and Cole Porter in a Temple Song recital reflecting on night and day.

The Simón Bolívar Symphony Orchestra, Gustavo Dudamel and cuatro player Jorge Glem set the Edinburgh International Festival alight with a mix of Venezuelan music and a terrific Mahler 1. 

Setting the life of Vera Brittain to the music of Ivor Novello, Buxton Festival's new musical is a welcome if overambitious showcase for them both.

Thanks to Barrie Kosky's flamboyant imagination and a solid cast, the Komische Oper's new production of La Cage aux Folles glitters, but could be more gay.

Kurt Weill's musical, with its focus on psychoanalysis, makes its Austrian premiere in the city of Sigmund Freud. 

Celebrating his tenth and last season at the head of Komische Oper, Kosky treats himself to a revival of his 2017 production, which shows no signs of aging.

In place of a full musical, this revue highlighted classic and contemporary songs that celebrate places and cultures, although some selections seemed questionable out of context.

As the UK continues to emerge from lockdown, Leeds Playhouse and Opera North stage Sondheim. 

A wide-ranging programme from the shape-shifting ensemble at Wigmore Hall explores love in its many guises. 

Movement was so effectively utilised in this production, with elements of ballet, modern and Scottish folk melded in true Agnes de Mille fashion.

Programming Stephen Sondheim’s A Little Night Music is quite a daring move in a country with no real tradition in musical. This production by Nederlands Reisopera shows that fortune favours the bold.

John Wilson was constantly persuading the orchestra to dig deep and to unearth the riches and miracles in the orchestral writing.

In the year of the centenary of Claude Debussy's death, pianist Denis Kozhukhin gave a heady and colourful performance of music by Debussy and George Gerswhin, a composer deeply influenced by his French counterpart.

Sir Andrew Davis conducts the BBC Philharmonic in Elgar, Rachmaninov and Sibelius with pianist Kathryn Stott.

Cast and choir snaked and kicked their legs through the aisles of the hall – picking up audience members along the way – leading to a riotous on-stage dance.

“Fiddler on the Roof” as a universal parable of tradition 

Nathaniel Hackmann, a stocky baritone with the tenderest of timbres, was like a reincarnation of Alfred Drake.

Under the baton of John Wilson, the Royal Concertgebouw Orchestra played Bernstein’s music with jazzy verve. The fine team of vocal soloists was lead by Kim Criswell.

Cristian Măcelaru and the Hallé give exemplary accounts of Fauré's Dolly Suite and Prokofiev's Romeo and Juliet, whilst Mozart's “Jeunehomme” Concerto with soloist Heejae Kim is variable and lacks instrumetal balance.  

To open the new season, the Seattle Symphony and Ludovic Morlot were joined by star mezzo Joyce DiDonato, whose performance sent listeners over the top and over the rainbow.

What a delight to revisit this 60th anniversary production of My Fair Lady in the directorial hands of its original Eliza, Dame Julie Andrews. 

The BBC Concert Orchestra and Keith Lockhart offered a snapshot of the Bard's lasting artistic impact with music for composed for stage and screen, from this side of the Atlantic and beyond the pond.

The Palestine Youth Orchestra on their first UK tour perform a lively mix of Western and Arabic music with passion and a strong humanitarian message in the programming.

Celebrating Youth, Music and Education in Roof-Raising Style: Ten Pieces Secondary comes to the BBC Proms 

Bernstein's On the Town is luxuriously cast, crisply played, and impressively danced in a much-more-than-semi-staged production at the San Francisco Symphony.

Sounds of Mali, Brazil, Spain, Mexico and Madagascar blended to perfection with Colombia to create a masterpiece. 

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

Marking 25 years since the death of Leonard Bernstein, Prom 67 celebrated his writing for stage and screen in a lively and colourful performance by the John Wilson Orchestra.

Dancing, jokes, a pogrom and Bryn Terfel balancing on milk vats. It could only be Fiddler on the Roof. Grange Park Opera took an eclectic combination and planted if successfully on the Proms stage.

Having recently retired after a herniated disc weakened his bowing arm, Julian Lloyd Webber took to the stage last night at St George’s, Bristol as part of a tour he had created to tribute and reflect upon his performance career as one of the world’s leading cellists.

The Philhamonia Zürich’s concert of great American orchestral and song music meant a magical mix of the familiar and iconic. 

Sakari Oramo takes the reins for his first Last Night of the Proms, alongside dazzling violinist Janine Jansen and the BBC Symphony Orchestra.

Peter Broadbent and the Joyful Company of Singers return to the Presteigne festival for an enterprising programme of unfamiliar 20th-century choral repertoire.

Once you've seen Victorian Opera’s new production of Stephen Sondheim’s Into the Woods, it's unlikely you'll ever get it out of your head. It’s Melbourne’s current “anti-musical”, quietly intoxicating the audience with infectious force.

Coming to a head in a production of wit, charm and depth, the RNCM's production of Sondheim's Company is splendidly designed and excellently directed.

Deft programming, fine arrangements and playing from Mr McFall's Chamber and guest soprano Susan Hamilton.

The Lyric Opera ends their 2013–14 season with a run of Rodgers and Hammerstein’s Oklahoma!, in all its frothy, proto-American, miked glory. Pluck is in evidence throughout.

The New Zealand Symphony Orchestra really has the perfect Wagner sound. Their full, vibrant string tone and magnificent pealing brass were fully in evidence in a thrilling rendition of the concert version of the overture from Tannhäuser. Few moments in music are as exciting as the build-up to the Big Tune in this piece, and the orchestra’s performance here was barnstorming yet perfectly accurate.

The Last Night of the Proms isn’t really a concert at all; it’s two very different concerts put on one after the other. The first is something like what we’re used to from a Prom, with big-name soloists performing alongside the BBC Symphony Orchestra and the BBC Symphony Chorus in world premières and classic works from the repertoire.

On entering Door One at the Royal Albert Hall and seeing top hats, tails and tap shoes clustered in a doorway, it was time to prepare for an evening of ‘The Broadway Sound’.

John Wilson and his orchestra are something of a modern-day Proms legend, having received rave reviews for last year’s “Hooray for Hollywood” and for the Rodgers & Hammerstein Prom in 2010. Nostalgia is fashionable, and Wilson knows it, but he is not content to rest on his laurels.

Peter Jablonski’s contribution to the Southbank Centre’s ongoing International Piano Series was an unusual mixture of music from nineteenth-century Europe and twentieth-century America, featuring works by Liszt, Grieg, Gershwin, Copland and Barber.The first half was all moody nineteenth-century romanticism, with ‘ballades’ by Liszt and Grieg.

Pretty Yende y Nadine Sierra se entregaron al placer de cantar en compañía y ofrecieron un recital brillante con un perfecto entendimiento entre ambas.

L’équipe du Komische Oper redonne des ailes aux beaux oiseaux de La Cage aux folles, dans la mise en scène de Barrie Kosky : un condensé d’humour, de bonne humeur et de contemporanéité.