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

Un notable reparto vocal y un cantante leyenda para una producción de claroscuros.

While this revival is imperfect, the Cherubino of Svetlina Stoyanova proves a marvel to hear.

Sir David McVicar's classic staging of The Magic Flute, now over 20 years old, shines afresh in a stylish performance conducted by Marie Jacquot, making her Covent Garden debut.  

Nézét-Séguin takes a thoroughly veristic approach in the pit. Lise Davidsen's marmoreal nobility may not be perfectly suited to the title role, but oh Lord, the voice!

Four superstars deliver dramatic moments in this revival of Sir David McVicar’s Goya-inspired staging of Verdi’s melodrama. 

Sir David McVicar's Figaro has been delighting audiences at the Royal Opera House since 2006. Is this its final outing? 

Strong solo and ensemble singing from a solid cast – with a last minute addition for Act 2 – make for a joyful revival of this much-loved production. 

Sir Simon Rattle and the LSO give an orchestral performance to remember, with a fine singing cast, but Simon McBurney's staging dials the bleakness to maximum too early.

Aleksandra Kurzak's lyrical Tosca brings out the woman behind the caricature in this revival of Sir David McVicar's lavish production.

Annabel Arden's superb production of Donizetti's classic makes a welcome return for the Glyndebourne Tour in a taut revival led by two excellent principals.

Both vocally and instrumentally the performance  was a high-class one

A brilliant revival of Donizetti's Maria Stuarda at The Met centres on the dramatic confrontation between Queen Elizabeth I and Mary Stuart at Fotheringhay. 

Staging the operatic behemoth that is Berlioz's Les Troyens comes with huge challenges to harness the artistic, technical and dramatic qualities in a work which spans more than four hours. 

Verdi's Rigoletto is a work of contrasts. The Duke is equally at home in a glittering palace or a tawdry brothel (a historically accurate characterisation of King Francis I of France, on whom his character is based); his romantic ballads are juxtaposed with the musical depiction of violent storms. Pretty courtly dances share the stage with powerful orchestral evocations of impending doom.