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

Scion of generations of sitar players, Nishat Khan is the perfect person to tell the "greatest love story never told" behind India's most iconic building.

Natascha Metherell relocates the action to an Italian film studio of the 1950s, which looks great but brings problems. 

A revival of James Conway's staging of Ottone launches English Touring Opera's autumn season of three Handel operas. 

Using Jonathan Dove and Graham Vick's distillations of Siegfried and Götterdämmerung, the company concluded its miniature Ring cycle in under five hours, without sacrificing musical or dramatic tension.

Composer-librettist Adamo does full justice to Louisa May Alcott's 19th-century bestseller, one of the most widely read works in American literature.

Wagnerites can get their fix in London this week, where Die Walküre opens the Grimeborn Festival in Julia Burbach's new production of the adaptation by Graham Vick and Jonathan Dove. 

Amid all the18th-century flummery, contemporary touches abound as the OHP's post-pandemic season opens. 

The Linbury re-opens its doors to opera with a new work whose libretto is superbly crafted by Francesca Simon, featuring a tour de force performance by Marta Fontanals-Simmons as the Norse goddess Hel.

Jenůfa unfurls with chilling intensity at Longborough with the talented Lee Bisset in the title role. 

The Guildhall School of Music and Drama is firing on all cylinders with this double bill of rare surrealist operas by Martinů.

Bleak and uncompromising in vision and intention, Britten's The Rape of Lucretia gets a suitably dark, discomfiting outing at Guildhall. 

Jonathan Dove's joyous old-fashioned fairytale, magically realised in a very stylish production including some wonderfully original puppetry, is a fabulous talent showcase from British Youth Opera - and fun for all the family. 

In the programme notes to the Guildhall production of Journeying Boys, writer and director Iain Burnside reveals that the original idea behind the play came from Nick Sears, the Royal College of Music’s Head of Vocal Studies. It’s hard to know whether that disclosure was a giving of credit due or a disclaimer.