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

Any production of Le nozze di Figaro in which both Marcellina and Barbarina give star performances is ensemble casting at its finest.

The Aurora Orchestra defies tradition and turns Britten’s ghostly Turn of the Screw into a kind of a dramatic ‘installation’

Leah Hausman's revival of David McVicar's production allows the comedy to stem from the situations set up by Mozart and da Ponte... aided by Erwin Schrott's witty Figaro.

Music Director Michael Tilson Thomas deserves credit for this excellent semi-staged version of Britten's Peter Grimes performed with the San Francisco Symphony at Davies Symphony Hall.

In his program note, conductor-director Iván Fischer describes his Mostly Mozart Festival production of Mozart’s Le nozze di Figaro as a staged concert. His agenda sounds serious: “This is my attempt to bring theater and music closer to each other, to create a new natural harmony.” He asks for a new era in opera production, seeking “organic unity” between music and theater.

Professional performances of English operas are rare – they always have been – and it is presumably the 60th anniversary of The Pilgrim’s Progress specifically that has prompted this 2012 revival. It seems that without a significant anniversary to justify blowing the dust off a score, English operas tend to lie unheeded – the exception of course is Benjamin Britten.

Every year, Glyndebourne brings an opera from their festival to the BBC Proms and adapts it to the Royal Albert Hall stage. This year they brought their hottest production of the summer, The Marriage of Figaro (directed at Glyndebourne by Michael Grandage and adapted for the Proms by Ian Rutherford), and it was wonderful to see the Albert Hall packed to rafters.

The nationality of Gaetano Donizetti's La Fille du Régiment is as confused as that of its eponymous heroine. Written by a homesick Italian expatriate for that most Parisian of venues the Opéra-Comique, it both continued Donizetti's Italian colonisation of the Paris opera scene (much bemoaned by Berlioz) and showed him adapting his style to the conventions of French theatre.

There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.

Natalie Dessay has been making a real signature role out of Marie, Donizetti's foundling "Daughter of the Regiment" who turns out to be of noble birth (well, partly, wherein lies the tale). We went to Covent Garden last night specially to see her, and she didn't disappoint: her performance was quite out of the ordinary.