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

John Doyle's emotional staging of Werther gets to the heart of Massenet's engagement with Goethe in memorable performances.      

Stephen Medcalf gingers up Grange Park Opera’s staging with some deft directorial touches… even if Tosca is denied her final leap.

Gwyn Hughes Jones, Elizabeth Llewellyn and Sir Simon Keenlyside star in David Alden's setting of Otello in a militarised Cyprus.

Paul Curran's production of Carmen is entertaining and slick, with Paula Murrihy as a feisty heroine.

Barry goes for out-weirding Carroll at a fast and furious pace. There's plenty of fun and it's beautifully staged – but is that enough?

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

Fine singing all round, sensitive continuo musicianship and dramatic action make for a thoroughly enjoyable Return of Ulysses by Monteverdi.

Trophy room glass display cases and glassy-eyed stuffed animals are the setting for a distinctive take on Wagner's epic music drama. 

I arrived at the Royal Opera House in the usual way, settled into my seat, and – could you believe it – the opera was gone!

Gerald Barry’s deliciously anarchic operatic setting of Oscar Wilde’s The Importance of Being Earnest returns to the London stage.

Stephen Medcalf's meticulous staging of Tchaikovsky's bitter masterpiece is lit up by Jung Soo Yun's Lensky, giving a direct injection of emotions: verismo before its time.

Kasper Holten’s production does an impressive job of exploring the concepts of Szymanowski's Król Roger – perhaps more psychologically than philosophically. It’s a production well worth exploring.

Interviewed at the Barbican Centre last year, Stephen Fry described Gerald Barry’s score for The Importance of Being Earnest (2010) rather unfavourably as “taking a machete to a soufflé”. However, this zany opera based on Oscar Wilde’s classic play of 1895 has already emerged victorious from concert premières in Los Angeles and London.

Handel’s Jephtha is an oratorio, rather than an opera. However, the story is one of high drama and emotion, and thus the work lends itself easily to operatic adaptation.

There’s usually plenty of hype surrounding a newly written opera performed at Covent Garden, but the carefully placed stories about Judith Weir’s Miss Fortune are on the improbable end of the scale, featuring a flying kebab shop and a team of breakdancers. So I arrived at Miss Fortune without any real idea of what I was going to get.