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

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

Toby Spence, Matthew Rose and Andrew Watts shine in a fluent semi-staging at the Royal Festival Hall.

Sir Bryn Terfel’s Falstaff is still a cherishable rogue as he takes on the title role in Robert Carsen’s joyous staging at the Royal Opera. 

Jonathan Dove’s witty Flight at Scottish Opera is finely sung by a tight ensemble with standout performances from Jennifer France and James Laing.

Despite its title, the victims dominate Julian Grant and Mark Campbell’s caustic one-act opera. 

Inventive comedy and excellent musicality bring Sir Thomas Allen’s traditional production back to life.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

Claus Guth gives the Staatsoper Berlin a Turn of the Screw unlike any other.

The Perfect American, a fictional account of the final months of Walt Disney’s life, is a visually rhythmic flow of scenic magic on a blended Glass base – gently but harrowingly absorbing.

Iain Bell’s new opera A Harlot’s Progress, premièred at the Theater an der Wien this month, has much going for it. Its chances for making it into modern repertory are good – if people can handle the depressing plot.