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

Zur Aufführung gelangte ein neuzeitlich premiertes Opern-Pasticcio, dem das junge Ensemble mit innewohnender Entdeckerlust und stimmlichen Fähigkeiten zu einem – damals noch versagten – Erfolg verhalf.

Pour conclure le Festival Présences, quoi de mieux que des percussions et de l'opéra ? Avec des créations de Bastien David et Isabel Mundry par l'Ensemble intercontemporain, voici la fin du portrait de George Benjamin.

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?

The culmination of Thomas Ades' Beethoven cycle with the Britten Sinfonia channels Beethoven's atavistic energies. 

Following the recipe of the New Year Concert from Vienna, the CBSO demonstrated their ability, but not much originality in this predictable programme. 

A spirited and seamless production of Strauss’s Ariadne is aided by some excellent singing and playing at London’s premier summer opera festival.

George Benjamins neue Oper beschreibt eindringlich einen durch Liebe hilflosen König – Hannigan und Degout füllen die tiefgründige Musik mit hingebungsvollem Emotionsspiel.

George Benjamin and Martin Crimp's second full scale opera is a refinement of the craft showed in Written on Skin – but the lessons are less in love and violince than in power, tension and beauty of the score.

Antony McDonald’s take on Ariadne auf Naxos, a co-production from Scottish Opera and Opera Holland Park, sparkles with wit. 

Jonathan Dove’s witty Flight at Scottish Opera is finely sung by a tight ensemble with standout performances from Jennifer France and James Laing.

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

The Birmingham Contemporary Music Group present an ambitious mixture of experimental chamber music and disquieting monodrama. 

A simple, but funny production with a strong cast and an enthusiastic chorus brought Rossini's comedy to life.

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

Jennifer France and Nicholas Lester are a compelling double act in Rossini’s sparkling comedy La scala di seta from Scottish Opera in Concert.

Excellent choral concert for Handel Festival at Karlsruhe, featuring works by Vivaldi and Handel, which also highlight up-and-coming countertenor Jakub Józef Orliński. 

The Nederlandse Reisopera celebrates Ariadne auf Naxos’centennial with a superb new production directed by Laurence Dale which looks as laving as it is pleasing to the ear.

Adrian Partington directs a well-managed but ultimately disjointed performance of Mahler’s most idealistically challenging symphony.

After a sparkling Act I, energy fades slightly on a sweltering night in London, but Opera Holland Park's Die Fledermaus has a lot going for it.

A concert performance wasn't perhaps the best way to make a case for Jommelli's Il Vologeso, presented as part of Classical Opera's Mozart 250 series. 

A superb concert from the Hallé and Sir Mark Elder included John Casken's 2014 oboe concerto Apollinaire's Bird, a rare piece by Elgar and Vaughan Williams' powerful Fourth Symphony. 

Intelligently staged and brilliantly sung, Scottish Opera can be justly proud of their new production of Ariodante. It is all about the oranges really.

Cette nouvelle production du plus écossais des opéras de Haendel s’en tire avec les honneurs, malgré un orchestre à la peine.

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. 

Tragedy giving way to comedy – a recipe which still works, as demonstrated in Opera North's fine double bill of Gianni Schicchi and La vida breve.

Smetana's The Bartered Bride by Opera North at Leeds Grand Theatre directed by Daniel Slater is a confident revival of an old success. 

Garsington Opera takes a comedic approach to Beethoven's Fidelio. The result is amusing and musically strong, but lacking in both dynamic staging and emotional depth.

Handel and the Huddersfield Choral Society go way back, and their union is probably listed somewhere in the Old Testament.

A very welcome and triumphant revival of Peter Grimes begins Opera North’s Festival of Britten season, soon to be followed by A Midsummer Night’s Dream and Death in Venice. The work has often been described as Britten’s greatest, the paeans of praise beginning soon after its first performance just after the Second World War, often involving the word “enigma”.

When you go to a student opera production, even at an institution as prestigious as the Royal Academy of Music, you don't expect to see one of the opera world's conducting legends in the pit. But that's precisely what we had at last night's performance of Berlioz's Béatrice et Bénédict, in the shape of Sir Colin Davis (CH, CBE), a man with several thousand opera performances on the clock.