En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Guildhall Symphony Orchestra

Two operas on marital discord by Bernstein and Menotti come with a content warning in Guildhall's delightful double bill.

Amy Lane directs an intimate staging of Missy Mazzoli and Royce Vavrek’s 2018 chamber opera in the compact Milton Court Theatre. 

Pleas for more Respighi operas are answered as the students of the Guildhall School of Music and Drama give the UK premiere of Lucrezia, paired with Ethel Smyth's Der Wald.

From the spiritual conversion of a Medieval sex-worker, to the Sleeping Beauty tale reimagined, Guildhall stages a Respighi double-bill.

Massenet, Smyth and Rota are unlikely bedfellows, but in the Guildhall School's Autumn production, a one-act opera by each contributed to a most convincing triple bill, all set around the La Scala Picturehouse in the 1920s.

Dominic Wheeler did full justice to Britten’s brilliantly colourful and haunting score right from those first eerie glissandi.

The most moving scene in 20th-century opera went for nothing

Guildhall School of Music and Drama tackles Gian Carlo Menotti's rarity, a tale of stateless and paperless 'citizens of nowhere' seeking refuge amid Kafkaesque bureaucracy. 

In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.

A light and sassy comedy from Wolf-Ferrari showcases the latest crop of talent from the Guildhall in a stylish 1960s production from Yannis Thavoris with video by Dom Baker, directed by Stephen Barlow.

Dimanche 5 juillet au Barbican, le London Symphony Orchestra rejoint par des élèves de la Guildhall School et de nombreux choristes amateurs présentait "The Monster in the Maze" de Jonathan Dove, un opéra très enthousiasmant dirigé par Sir Simon Rattle, suivi par une symphonie de Walton elle aussi exaltante.

In this double bill, we get a violently enthusiastic little farce from Donizetti which, though fiery, is definitely not his best work; but next, we are treated to the revival of a brilliant, beautiful one-act opera by Malcolm Arnold.