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

Julia Burbach's new production lacks poetry in spite of an admirable cast led by Samuel Dale Johnson in the title role. 

Stellar performances can’t save ENO’s production of Thomas Ades’ masterpiece from poor direction, set design and venue.

British director Richard Jones is well known for his bold, modern and often controversial takes on operatic repertoire. So I was very curious to see what surprising ideas he would come up with in directing Britten’s rarely performed opera Gloriana, originally composed in honour of the coronation of Queen Elizabeth II in 1953.

With most of the original cast of English National Opera's critically acclaimed production returning to the Royal Albert Hall to perform Britten's Peter Grimes for the BBC Proms, this was a performance of which much of the audience had high expectations. For the most part, these were met and, on occasion, exceeded.

English National opera's first première of 2012 is a revival of David McVicar's 2008 production of Richard Strauss's Der Rosenkavalier, in splendid rococo period setting. They pulled out all the stops in casting: the four lead roles were all sung and acted wonderfully by English singers at the very top of their game.

This was a recreation of a Proms concert that Benjamin Britten conducted in 1963, but with a contemporary twist.

English classical music is often associated with the countryside, the landscape and its villages, and Britten's opera Peter Grimes is no exception.

In Janáček's opera The Makropulos Case, the operagoer must accept a single premise of implausible fantasy: from then on, the action flows inexorably and logically to its conclusion. It's a device used by a great deal of fantasy literature, from the low-brow of The Day of the Triffids to the high-brow of Janáček's compatriot Kafka's Metamorphosis.