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

Mark Ravenhill directs a brutal, bloody Salome at the spiritual home of British boxing, York Hall. 

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 

The American Dream hits Ally Pally in a vivacious performance of Britten's eclectic operetta, headlined by an ENO chorus who knock it out of the park.

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

Not since Monty Python has there been more fun with a chorus of lumberjacks.

Two strongly atmospheric pieces create and hold a dreamy, intensely imaginative note on which to finish Tête à Tête for 2015. 

In the programme notes to the Guildhall production of Journeying Boys, writer and director Iain Burnside reveals that the original idea behind the play came from Nick Sears, the Royal College of Music’s Head of Vocal Studies. It’s hard to know whether that disclosure was a giving of credit due or a disclaimer.