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

Evocación, contemplación y acción: la íntima conexión que se diseñaba entre las obras en programa, la Sinfonía de los salmos de Stravinsky y la Novena sinfonía de Beethoven, tiene que ver con la relación de estos tres conceptos que obligaron al oyente a mutar constantemente su predisposición a la escucha y a la recepción de la música. 

Amid the rough winds of late May, Julia Burbach directs Opera Holland Park's first venture into Wagner – The Flying Dutchman. 

Isabella Bywater directs an evocative new production of Britten’s ghost opera, well performed at the Coliseum. 

Who wouldn't relish the chance of seeing a Ring cycle at close quarters? Longborough's Die Walküre isn't perfect, but it consistently delivers on the story and on character interpretation.

Margaret Atwood’s dystopic novel, masterfully adapted for the operatic stage, is strongly performed at ENO and rings even truer today than it did when it was written.

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

Britten's four lovers were costumed in quasi-contemporary, even glamorous manner, stripping to their underwear for the end of Act 2... so more Love Island than Ancient Athens.

A marvellously affirmative account of The Kingdom that brought thrilling intensity and evident commitment from the combined forces of the Waynflete Singers and the BSO.

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

Geraint Bowen directs the Three Choirs Festival Chorus and Philharmonic Orchestra at Hereford Cathedral in two works once unfairly dismissed.

As the two sisters, Eleanor Dennis and Kitty Whately ideally complemented and blended with each other.  

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

A decent cast was unable to redeem a fundamentally dull opera that lacks the psycholgical complexity and tension of both the original Graham novel and its famous Hitchcock adaptation.

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

Netia Jones' new production taps into Britten's silvery underworld in a staging dominated by video wizardry which is hypnotically beautiful, but comes at a price.

Inventive comedy and excellent musicality bring Sir Thomas Allen’s traditional production back to life.

Fingers and bows fluttered through dance-like figures and virtuosic passages packed with trills with astonishing clarity and brilliance.

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

The NSO, Philharmonic Chorus under the baton of Macelaru give a riveting account of Beethoven's Missa solemnis.

Calixto Bieito  updates the Carmen to the final years of Franco’s dictatorship and in Joan Anton Rechi’s revival, the results are often gritty and fierce, if unlikely to do anything for the Spanish tourist trade.

An original and dynamic performance of Brahms' Symphony no. 1 makes up for run-of-the-mill Wagner and Strauss. 

Riccardo Primo, Re d’Inghilterra (or in English, Richard I), is Handel’s only opera based on the story of an English monarch, and it was premiered in the coronation year of King George II in 1727 (although in fact it was composed the year before but postponed).

The Royal College of Music’s International Opera School has long been a training ground for some of the world’s most famous opera stars.

This week, the annual London Handel Festival, now in its 34th year, opened with a new production of his opera Rodelinda.