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

Unlike many Flutes, David McVicar's 2003 production treats Mozart's score as a proper opera, albeit with romp instead of pomp. 

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.

Ariadne auf Naxos shines in an ultra-contemporary world of high net worth tantrums at Longborough Festival Opera, complete with glam rock fairies, giant string, and glorious music. 

Mark-Anthony Turnage's take on Neil Gaiman's classic young adult novella is well sung and well staged, without quite reaching peak intensity.

A compelling and energetic debut production from a new opera company in the raddled surroundings of Wilton's Music Hall.

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

Il ritorno d’Ulisse in patria tells one of the world’s great stories. This production is a treat for early opera fans and a great introduction for those new to the genre.

Bryn Terfel and Sir Antonio Pappano brought their excellent interpretation of the 1869 version of Mussorgsky's seminal opera to the Royal Albert Hall for a one-off revival.

An even cast and a simple production makes Longborough Festival Opera's latest foray into aristocratic misdeeds a success.

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

For anyone seeing Carmen for the first time, this Royal Opera revival will have been a more than satisfactory evening. Old hands hoping to see something extra will find it in Hymel's Don José and Car's Micaëla, but not elsewhere.

With its latest incarnation of Die Zauberflöte, the Royal Opera ticks all the boxes in a strongly cast revival. 

At carnival time, Cavalli’s mission was to make his audience laugh, wow them with a bit of vocal gymnastics, butter up their romantic feelings with a few delicate cadences, and maybe leave a tear or two in their eye. It’s a potent formula, and it still works.

There is something pleasurably straining, for the big-hall, velvet-accustomed operagoer, about the experience of sitting for three hours on a very tiny bench in a charmingly chiselled, candlelit little theatre that invites contemplation in its own right – beyond the attractions, musical and other, set up within its frame.

The world of opera can sometimes be hard for the newcomer to love as there are often fiendishly complicated and frequently unbelievable plots to get to grips with. Jules Massenet’s opera Werther is happily none of these: it is a straightforward story of unrequited love.

There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.