En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Buxton Festival Opera

Setting the life of Vera Brittain to the music of Ivor Novello, Buxton Festival's new musical is a welcome if overambitious showcase for them both.

Mozart's early opera seria may not be his greatest achievement – but lightness of touch from all involved highlight its charms in Jack Furness' new production. 

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

The fashion for reviving Mozart's teenage operas brings a vocally dazzling production of Lucio Silla to Buxton, nevertheless hampered by the work's own lack of believable drama and some fairly flat staging. 

A period-perfect Albert Herring from Francis Matthews for Buxton International Festival takes time to settle into its stride, but provides plenty of laughs along the way. 

A searing, edge-of-your-seat spinetingler from Elijah Moshinsky makes the strongest possible case for Verdi's first Macbeth, ideally suited to the proportions of Buxton's beautiful Opera House.

Handel's psychotic Tartar leader and bedhopping nobles are well served in an excellent collaboration between the Buxton Festival and the English Concert with some outstanding singing from Marie Lys and Owen Willetts.

Stephanie Marshall's Romeo and Sarah-Jane Brandon's Giulietta make this production of Bellini's version of Romeo and Juliet utterly compelling.

Stephen Barlow makes the case for Beethoven's earlier version of Fidelio, but doesn't quite manage to convince.

Gustave Charpentier's Louise, revived and in excellent form at the Buxton Festival.

Amateur gangsters, but a nicely sung, if rather staid Lucia di Lammermoor at Buxton, worth seeing for its excellent mad scene.

Verdi's rarely-performed early masterpiece gets a succinct, powerful outing in top class style at Buxton. 

An updated Orfeo and Eurydice at Buxton sees Orpheus as an ageing rocker, too distracted by adoring groupies to notice Eurydice. However, one piece of casting was an unsolvable conundrum. 

The charm-ometer was cranked firmly to ‘high’ yesterday evening for the opening opera of this year’s Buxton Festival with a performance of The Jacobin, an opera close to Dvořák’s heart. 

There can be little doubt that two principal draws of the Buxton Festival are the annual opportunity to experience little-known and sometimes totally unheard-of repertoire and composers, and forgotten repertoire by familiar composers; the co-operation of such a festival committee, patrons and backers that supports the production of rare works is a gift to any artistic director – especially one as

Buxton, a small spa town in Derbyshire, has been home to one of the most imaginative and important festivals in Britain for over thirty years.