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

Murder in the library? No, this isn't a re-run of Poirot, but a new production of Verdi's Macbeth to open The Grange Festival's 2022 season.

A vast panopticon cages strong musical performances in Wake-Walker's Fidelio at Glyndebourne, with Dorothea Herbert and Adam Smith standing out vocally and emotionally as Leonore and Florestan.

Sam Brown's sparse production leaves nothing to focus on but the individual protagonists on stage. 

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way. 

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

Atmosphärische und kaleidoskopisch bunte Bilder machen King Arthur zu einem beeindruckenden Gesamtkunstwerk.

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.

Directing Entführung at the grand old age of 85, John Copley gives us plenty of fun in the Pasha's palace. 

A wonderful ful-filled caper by the Irish National Opera of Mozart's The Marriage of Figaro with Erraught as Susanna and Miskelly as Cherubino really impressing. 

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

A compelling and energetic debut production from a new opera company in the raddled surroundings of Wilton's Music Hall.

To open the new year, Seattle Symphony music director Ludovic Morlot chose a standard work, Beethoven’s Ninth, prefaced with an unusual one by French composer Olivier Messaien. 

Wahrscheinlich eine der besten Don Giovanni-Inszenierungen aller Zeiten; mit Sicherheit die lustigste.

Uneven musical values mar Seattle Opera's colourful production of Bizet's Les pêcheurs de perles.

As director of the film Topsy-Turvy, Mike Leigh seemed like a natural choice to turn his hand to The Pirates of Penzance at English National Opera. Sadly, this proved not to be the case. 

With ENO having been in the news for all the wrong reasons last week,  it needed Richard Jones' The Mastersingers of Nuremberg to be a great production. Lit up by a towering performance by Iain Paterson, it is.

A rendition of The Creation in Auckland that had one marvelling anew at Haydn’s ingenuity and spirit. 

Any performance of Mahler's Eighth Symphony is a special event. This one was a thrilling end to the Royal Scottish National Orchestra's season.

Handel’s Belshazzar was the oratorio of choice for renowned music group Les Arts Florissants at the Barbican last week. The group was famously set up in France in 1979 by the American-born William Christie, eventually becoming an international household name for its critically acclaimed performances and recordings of Baroque operas on period instruments.

Though reports of the work’s importance and dramatic power have attended it since its 2010 premiere in Dallas, I doubt many in the audience of the War Memorial Opera House on Wednesday night were prepared for the impact of Jake Heggie’s Moby-Dick.

Prom 23 served up a menu of English music from the first half of the 20 century in all its variety, with impressionism by Delius, the lush strings of Vaughan Williams, heroic brass from Ireland, and jazzy, sophisticated excitement from Walton.The programme opened with a warmly affectionate performance of Vaughan Williams’ Fantasia on a Theme of Thomas Tallis.