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

Welsh National Opera brought a cast of strong voices to Birmingham for a production of Rigoletto intriguingly set in the White House of the 1960s. 

Dominic Cooke’s Magritte-inspired production returns to Wales Millennium Centre to keep the audience giggling. 

We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.

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.

WNO's excellent revival of John Copley's 2011 staging of Die Fledermaus is a delight. 

Phelim McDermott tackles Philip Glass's ancient Egypt in a production that's totally absorbing visually and aurally, with a star performance by Anthony Roth Costanzo.

Lothar Koenigs conducts a stylish, colourful Magic Flute inspired by Magritte. 

The Welsh National Opera took to the Hippodrome stage for the Bristol leg of their UK tour ofCarmen. This was a revival of Welsh National Opera’s production in the late 1990s, co-produced with Scottish Opera.

There can be little doubt that two principal draws of the Buxton Festival are the annual opportunity to experience little-known and sometimes totally unheard-of repertoire and composers, and forgotten repertoire by familiar composers; the co-operation of such a festival committee, patrons and backers that supports the production of rare works is a gift to any artistic director – especially one as

The eponymous heroine of Dvořák’s Rusalka is a water-sprite from the woods and lakes of Middle European fairy-tale, very much the territory familiar to ballet lovers in Giselle and Swan Lake.