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

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

Rarely has so distinguished a group been assembled to give this work live; it would have shone as a highlight even in a normal year of visiting foreign ensembles and performers.

Olena Tokar's assured coloratura made an immediate success of the waltz with her convincingly adolescent appearance, rhythmic verve and stylish phrasing.

Jonathan Miller's production remains a work of brilliance, but poor conducting amongst other things keeps this revival from getting off the ground.

Dancing, jokes, a pogrom and Bryn Terfel balancing on milk vats. It could only be Fiddler on the Roof. Grange Park Opera took an eclectic combination and planted if successfully on the Proms stage.

The most Scottish of operas, Verdi's Macbeth, makes big demands on its soloists and is packed with choruses, so it was interesting to see how Scottish Opera's production managed with only seven singers and a chamber orchestra.

Eugene Onegin, a lyric opera by Pyotr Tchaikovsky, is based on Pushkin’s novel of the same name, converted into an operatic libretto by Konstantin Shilovsky. It tells the tale of a selfish hero, Onegin, who rejects the outburst of love from the young Tatyana and instead flirts with her older sister, Olga, who is engaged to his best friend, Lensky. This leads to a duel, in which Lensky is killed.

How much wine can a cast pretend to drink over the course of one production? If such a record has been set Adam Spreadbury-Maher, Ben Cooper and Robin Norton-Hale’s Don Giovanni presents a good challenge. For much of this production characters, music and set seemed drunk on wine and melodrama, high on the drug of their own confident style – but all were ultimately weakened by their instability.

Last night at North London’s Gatehouse theatre saw the Merry Opera Company perform La Belle Hélène, Offenbach’s Trojan War parody of Grand Opera, translated/re-worked by Kit Hesketh-Harvey and enticingly re-labelled Troy Boy. Hesketh-Harvey is best known as half of the cabaret duo Kit and the Widow, but has also been a regular translator of opera for the ENO and others.