Artículos de Dominic Lowe

An impressive performance from cellist Natalie Clein in Dvořák’s Cello Concerto did much to alleviate the woes of the real world.

It's not his most commonly performed work, but with a crack team of vocal (and orchestral) soloists, Andrea Marcon and the Venice Baroque Orchestra gave a fabulous account of Vivaldi's only surviving oratorio.

In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.

This visiting production by Róbert Alföldi set in a psychiatric unit is sensational; thought-provoking, moving and with a very fine cast.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

Clever staging and a high standard of acting does much to happily while away the three hours of this baroque opera in the second of ETO's Baroque extravaganza.

Eleonora Buratto showed a voice with plenty of style and character, but her recital was not always inspired. 

This revival of Catherine Malfitano’s excellent 2010 production features some splendid singing from Gwyn Hughes Jones as Cavaradossi – but is let down by some poor diction and varying drama.

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

A fine account of Bruckner's Fourth Symphony was let down by the choice of the original version of the score, whilst Beethoven's Piano Concerto no. 1 saw some idiosyncratic playing.

As Esa-Pekka Salonen resumes his Stravinsky series, he turns his attention to three underperformed works based on key figures of Greek mythology: Orpheus, Apollo and Persephone.

The enterprising forces of Opera Settecento brought the nearly forgotten music of Hasse's Demetrio to the Cadogan Hall, and in the process showed that this composer can easily match his more popular contemporaries.

In the penultimate concert of the 2016 Proms, Marin Alsop drew together some impressive forces for Verdi's Requiem, led by the remarkable soprano Tamara Wilson.

Though there were moments of questionable playing from Daniel Barenboim in Mozart's Piano Concerto No. 26, his interpretation of Bruckner's underappreciated Symphony No. 6 was inspired.

Although Ács Ákos gave an excellent performance of Mozart's Clarinet Concerto, Iván Fischer's innovative Requiem didn't quite work.

Rafael Payare's energetic conducting of his Ulster Orchestra in Tchaikovsky, Haydn and Hellawell showed how fortunate Belfast is to still have this skilled musical force. 

Arcangelo and three excellent singers performed 17th-century music inspired by Shakespeare in a vivid and amusing performance. Lipstick and pashmina anyone?

In one of Bartoli's rare appearances on stage in the UK, she gave an utterly compelling performance as opera's ultimate woman scorned.

Newlyn's updating of the opera to the Second World War was effective, while a superb Despina from Soraya Mafi gave the performance real fizz.

Hot on the heels of its Eugene Onegin, full of potential marriages that never reach the altar, Dorset Opera put on an excellent production of an opera with a successful, slick and murderous power couple.