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

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. 

Donizetti’s tale of one the Italian Renaissance’s objects of hate is well sung and superbly acted in ETO's new spring tour production.

Sir Mark Elder conducts The Hallé in a stirring semi-staged production of Madama Butterfly.

An Elektra conducted like Mendelssohnian fairy music, sung not shouted, just as Strauss required.

Fiona Shaw's production doesn't always get everything right, but Lucy Crowe's debut as the Countess is the defining success of the this revival.

There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice. 

An impressive display of singing technique isn't enough to make RCM's Ariodante connect with hearts and minds.

An energetic performance of Johann Strauss' Die Fledermaus, showcased both the work and some very fine young singers.

Jonathan Dove's joyous old-fashioned fairytale, magically realised in a very stylish production including some wonderfully original puppetry, is a fabulous talent showcase from British Youth Opera - and fun for all the family. 

Cette année, King’s Place célèbre le 140ème anniversaire de la naissance de Arnold Schoenberg, compositeur autrichien surtout connu pour s’être distancé de la tonalité classique et avoir développé le dodécaphonisme.