En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Sinéad Campbell-Wallace

Christof Loy convierte la fábula Rusalka en una sensible y fina escenificación de la discapacidad.

Miskimmon's relocation of the action to Ireland is unsparing in its evocation not of some tearjerking melodrama but of an almost documentary reportage on real events. 

Vladimir Jurowski's six-year Ring with the LPO closes as the cycle began: a gleaming, golden ring with a black hole at its core. 

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

Fourth time around Paul Curran’s production of Tosca at the Canadian Opera Company is workmanlike and well sung, but lacks the necessary dramatic edge to be truly memorable.

Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum. 

Laurence Equilbey makes a convincing case for a younger, fresher Fidelio played on period instruments.

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

Under director Annabelle Comyn’s modern setting, we have a moving, convincing Fidelio to resonate with our current age.  

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