En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Egor Zhuravskii

Conducted by Christoph Konz and directed by James Brining, Opera North’s revival of The Magic Flute remains an inventive reinterpretation of Mozart’s classic opera. 

Max Hoehn takes Così‘s subtitle, La scuola degli amanti (The School for Lovers), and connects it to Monty Python’s sex education sketch in The Meaning of Life. What larks, eh? 

Upcycled and recycled, a green production of Verdi's final opera is directed by Olivia Fuchs. 

Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival. 

Speranza Scappucci makes her house debut conducting Verdi's early opera in concert, featuring Russian bass Ildar Abdrazakov as an outstanding Attila. 

With more cast reshuffles than in Downing Street of late, this revival of Damiano Michieletto's intertwined Cavalleria rusticana and Pagliacci double bill triumphs against the odds.

Sir Antonio Pappano and the LSO offer a riveting account of Il prigioniero, an idiosyncratic 20th-century opera. 

The second cast of the season for Oliver Mears' new Royal Opera production augments the intelligent staging with superb singing and acting.

The Italian soprano produces enormous power and great sensitivity in equal measure to illuminate a memorable Verdi Macbeth.

Following success in New York and Madrid, Oropesa gives Covent Garden a Violetta that will be difficult to better.

Oliver Mears’ first production since becoming Director of Opera also heralds the start of a new Royal Opera season, with a full house finally returning after the long Covid hiatus.

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.