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

If you’re in need of a pick-me-up, get thee to the Royal Opera House and see La Fille mal gardée, a gem of a ballet. There’s a long roster of impressive casts to choose from.

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

With Tchaikovsky’s music, glittering visual spectacle and wonderful dancers, The Australian Ballet's The Sleeping Beauty is a thrilling night at the ballet.

The Royal Ballet revive Ashton's masterpiece with some superlative leading performances in a production that is visually rich and imaginative.

Thomas Adès' score does most of the storytelling in this epic production, though the dancing is superlative.

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

Balanchine's triptych proves the perfect vehicle for The Australian Ballet to display its dazzling wares on its first post-pandemic international tour. 

During her long career as a principal (19 years and counting), Juliet has never been an obvious pièce de résistance for Núñez. That is, until now.

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

An event that will be long-remembered for the importance of the occasion, if not for its content. 

A mixed bill of modern work showcases the diverse talents of The Royal Ballet.

Princess Beatrice scratches history from the record in Cathy Marston’s biographical ballet at Sadler’s Wells.

Lust, betrayal, beheadings. The words appeared prominently in the publicity for Opera Seria’s debut production of Donizetti’s Anna Bolena, bringing Horrible Histories fleetingly to mind, but they do sum up the plot of one of the composer’s greatest works rather well.

A cold and rainy Wednesday evening in Leeds is not usually the setting for lust, betrayal, and murder. I found myself at the Clothworkers Centenary Concert Hall at the University of Leeds ready to experience the UK premiere of Act I of Sergey Taneyev’s masterpiece Oresteia, first performed at the Mariinsky Theatre in 1895.