En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Stephanie Wake-Edwards

The classic production of Handel's opera proves its durability, featuring a strong cast led by Christophe Dumaux and Elena Tsallagova.

Martin G Berger’s new production of Zar und Zimmermann eases the Deutsche Oper Berlin into the summer break, with mixed results.

David Hermann directs a new production of Korngold’s teenage opera, conducted by Sir Donald Runnicles, at the Deutsche Oper Berlin. 

Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 

Jack Furness directs a terrific new Queen of Spades at Garsington – haunting and harrowing. 

Tobias Kratzer gives his third Strauss production in three seasons at Deutsche Oper Berlin another contemporary spin. 

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? 

English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

Adele Thomas makes a good case for Semele's operatic credentials in her production which makes effective nods towards Baroque opera’s devotion to spectacle.

The Royal Academy of Music marks its 200th anniversary with Mahler's all-embracing Third Symphony, a work that fills both the evening and the concert platform.

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

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

Unlike many Flutes, David McVicar's 2003 production treats Mozart's score as a proper opera, albeit with romp instead of pomp. 

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.

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

A musically sensitive account of Monteverdi’s Poppea, with simple staging and 1950s costumes, sees singing triumph noticeably over the relative theatrical inexperience of HGO’s talented young cast.