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

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

Christopher Wheeldon’s The Winter’s Tale is a sumptuous looking production but on this occasion, it didn’t come to life emotionally.

Christopher Wheeldon's Alice's Adventures in Wonderland shows off The Royal Ballet's roster of supreme dance actors in every version of technical wizardry and comic incarnation.

Christopher Wheeldon’s Alice’s Adventures in Wonderland returned to the National Ballet of Japan, a marvelous production that amply displays the many talents of the company. 

A showcase presenting the rich diversity of Christopher Wheeldon’s choreography should become a staple in The Royal Ballet's calendar.

Last seen in 2017, Christopher Wheeldon’s take on the classic Lewis Carroll novel returns to the Royal Opera House stage, or rather Royal Ballet and Opera as we must now call it.

As Richard Eyre’s staging reaches its 30th anniversary, a new Violetta arrives on the Royal Opera block in what proves to be one of the best revivals in recent years. 

This tenth anniversary revival of Christopher Wheeldon's The Winter's Tale looks as fresh as on the original opening night.

The Australian Ballet revives Christopher Wheeldon's wildly imaginative take on Alice in Wonderland, in a magical masterpiece of wit and colour. 

The Norwegian soprano scores a major success at Covent Garden in her role debut as Elisabetta, whetting appetites for more Verdi to come. 

Wheeldon lacks the imagination to take this story beyond that of a well-crafted adaptation of a beloved movie.

A mixed programme of all-British choreography, including a world premiere, offers something for everyone.

Wheeldon’s Alice’s Adventures in Wonderland proves to be one of the greatest recent successes at the National Ballet of Japan, promising a feast of delights, an enjoyable night at the ballet for both children and adults. 

Laura Esquivel’s extraordinary novel of recipes, romances and home remedies brought to life in Christopher Wheeldon and Joby Talbot's new creation. 

Following success in New York and Madrid, Oropesa gives Covent Garden a Violetta that will be difficult to better.

In its 25th anniversary season, Richard Eyre's production continues to attract the world's great sopranos to the role of Violetta, the latest being Aleksandra Kurzak. 

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.

The Albanian soprano, who made a spectacular jump-in for her house debut in Richard Eyre's production in 2008, makes a splendid return. 

A strongly cast revival of The Winter's Tale by The Royal Ballet confirms one of Shakespeare's "problem plays" as perhaps being best suited to dance. 

As with Carroll’s original fantasy novel, Wheeldon’s wonderful ballet matures and pleases, yet more, at each revisit.   

Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.

Has Health and Safety finally caught up with the Spanish Inquisition? A flameless auto-da-fé and some low-key individual performances meant this revival took time to hit its stride. 

Richard Eyre's uncomplicated production remains as watchable as ever; Joyce El-Khoury makes a promising Covent Garden debut.

Returning stars and high-profile company debuts contributed panache to the energy-charged atmosphere.

Christopher Wheeldon’s The Winter's Tale (created for The Royal Ballet in 2014) is back on the Covent Garden stage this month and is as fresh and pristine second time around.

A gracious US première of The Winter's Tale by the National Ballet of Canada. 

Even us Verdi enthusiasts experience something of a heavy tread as we wend our way to yet another Traviata at the Royal Opera House.

Wheeldon's Winter's Tale for The National Ballet of Canada is a soaring success.

A new bel canto opera, a pro football team, and the future of American Opera--all in a day's work for Heggie, McNally, DiDonato, and von Stade.

Any revival of La traviata stands or falls by its principals and their ability to inhabit the roles rather than merely sing them prettily. A good revival director helps. 

Great singing from veterans and some visually stunning effects light up the Met's revival of Hytner's 2010 production of Verdi's Don Carlo.

This production is beautiful to look at and has interesting, atmospheric commissioned music. With The Winter's Tale it is evident that inventive choreographer Wheeldon and The Royal Ballet have another hit on their hands.

The house was full for the opening night at the London Coliseum, and there were plenty of whoops for conductor Nicholas Collon as he made his ENO debut. This year marks the 25th anniversary of ENO's celebrated production of Mozart's The Magic Flute, and this revival – the fourteenth – will be the last.

A glittering high society romance. A sordid tale of a prostitute born in the gutter and dying alone and painfully. A bel canto charmer, packed with glorious tunes. A scathing attack on Victorian sexual hypocrisy. Verdi's La Traviata is all of these things: find in it what you will.Richard Eyre's production for the Royal Opera is a hardy old soldier.