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

Christine Rice gives an astonishingly performance in an evening of four powerful chamber pieces.

Attractive music and delicious comedy abound in Scottish Opera's short film of Gian Carlo Menotti's 1947 comic opera, made for Edinburgh International Festival.

A solid Figaro in Cardiff, in which individual performances are a joy, and humour abounds. 

It’s a small miracle that the production has been recreated so well in such a short time frame.

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

WNO make a compelling case for Prokofiev's gargantuan War and Peace.

A twist on the usual Enlightenment path, this is an admirable production, excellently executed.

Jonathan Dove’s witty Flight at Scottish Opera is finely sung by a tight ensemble with standout performances from Jennifer France and James Laing.

Debussy’s opera of half-lights succeeds in taming the glare of the midsummer sun in Garsington’s new staging.

Mit Mozarts Zauberflöte gibt Jette Steckel ihr Debüt als Opernregisseurin und polarisiert mit einer von Lichteffekten überladenen Bühnenausstattung das Hamburger Premierenpublikum.

L’association prometteuse de William Christie des Arts Florissants avec le metteur en scène Robert Carsen ambitionnait de restituer sur instruments d’époque l’opéra-ballet du compositeur français André Campra (1660-1744). Pari réussi.

A very naughty translation and some fine singing make for a delightfully comic evening of Cesti's recently rediscovered Orontea at Wigmore Hall. 

Fine orchestral and singing performances in ETO's Pelléas et Mélisande aren't enough to overcome some of the work's difficulties.

Keri-Lynn Wilson produces an outstanding UK conducting debut in Richard Jones' faithful production of Puccini's Girl of the Golden West for ENO.

Julian Anderson’s Thebans, a bold attempt at condensing Sophocles’ three Theban plays into a single opera. The result is a powerful piece of theatre which drags the audience into the story of Oedipus’s horrific downfall and death, with its ensuing civil war.

What’s the first thing that comes to mind when you hear the phrase “3D occult mystery film opera”? Because I’ll bet that whatever this makes you imagine is nothing like the reality of composer/director Michel van der Aa and librettist David Mitchell’s Sunken Garden, which debuted at the Barbican last night.

When choosing a Gilbert and Sullivan operetta to be performed at the Proms in a year firmly branded as "London 2012", The Yeomen of the Guard had obvious appeal, being set in one of the capital's most famous landmarks, and giving the opportunity, even in semi-staged form, to deck the hall with Beefeater uniforms.

Anthony Minghella's famous production of Puccini's Madam Butterfly debuted with ENO in 2005, and has been revived several times since at the Coliseum, as well as travelling to the Met in New York and the Lithuanian National Opera. ENO's latest revival confirms the classic status of this version, with a musical account which goes some way to matching the sumptuous and – yes – cinematic visuals.

It's about time someone wrote an opera about the internet. And who better than Nico Muhly - snarky blogger, snappy Tweeter, and according to the Daily Telegraph "the hottest young composer around"? Add seasoned playwright Craig Lucas, top Broadway director Bartlett Sher and some of Britain's finest singers, and you might expect them to cook up a success.