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

Bieito’s Carmen is now a mainstay of ENO's repertoire, but with an excellent central cast led by Sean Panikkar and Justina Gringytė, the production feels entirely fresh. 

Lloyd-Evans' new production of Mozart's classic might be traditional, but there's no lack of astuteness in his direction of his characters. Problems in the pit hinder an otherwise strong musical performance.

Immersive, direct and passionate Bach from English Touring Opera and the Old Street Band.

English Touring Opera’s new Radamisto took time to settle down on opening night.

Cal McCrystal goes long on the ham and keeps the gags flowing in a visually stunning production that will delight G&S lovers.

Mozart's Don Giovanni is transported by director Oliver Platt to The Queen Mary in the 1930s. It looks handsome enough, but the concept is flawed.

Scottish Opera’s boutique touring production of The Elixir of Love is a fun-filled delight. Fine singing, perfect comic timing, all to a score for just five players. It worked a treat.

Ian Page assembled a fine cast, with a particularly good Leporello from David Soar for yet another superb performance of Mozart from Classical Opera.

The London Mozart Players and a talented company of singers presented a special chance to hear a rare, unfinished Mozart opera in an even rarer guise. 

Opera North's Così fan tutte directed by Tim Albery at the Grand Theatre, Leeds, is a welcome revival of an intelligent, nuanced production.

Justina Gringyte is a fabulous Carmen in Scottish Opera's dark take on this most tuneful of operas. Large choruses, including children with cigarettes, and a strong supporting cast make this an enjoyable show.

Flight represents a brave new departure for Opera Holland Park, the first contemporary opera to take to its main stage, in a striking staging with top quality musical performances. 

J.C. Bach's opera Adriano in Siria, set to a popular libretto by Metastasio, was first performed in London in January 1765 when the nine-year-old Mozart was in town.

A gleeful production of The Marriage of Figaro from Opera North, which makes it hard to imagine any dark side at all to the comedy. 

Full of physical comedy, joyous and enthusiastic, Fiona Shaw's vision of Mozart's The Marriage of Figaro makes the most of its taut and energetic plotlines, intense charactisation and beautifully balanced music. 

Britten's score achieves his usual kaleidoscope of different colours, played marvellously by the City of London Sinfonia under Steuart Bedford. Annilese Miskimmon's production yields an intense dose of psycho-dramatic tension.

Britten’s only Shakespeare opera was a last-minute commission to celebrate the opening of the refurbished Jubilee Hall at the 1960 Aldeburgh Festival. Despite the narrow timescale, Britten and his collaborator and partner Peter Pears notoriously strove to adhere to the sixteen-century dramatic text as closely as possible. Only a handful of Shakespeare’s original lines were substantially modified.