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

Not quite ready for a full-blown opera, but Sydney's Pinchgut maintains its historically informed purity with a delicately expanded version of Charpentier's Messe de Minuit.

Opera Australia delivers a sensational new Elena Kats-Chernin opera about the immensely gifted and troubled Australian painter, Brett Whiteley.

Monteverdi’s Il ritorno d’Ulisse in patria is given the Pinchgut treatment, with an abstract staging complementing historically informed music-making under Erin Helyard.

The real triumph of Michael Fabiano's role debut as Werther lay in controlling the bold intensity of his voice in favour of a sweet and lower-key level of passion – a match for Massenet's frequent choice of the cello.

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

Turco inspired many a great opera director in the past; understandably, as it offers plenty of splendid comic situations. Simon Phillips' hilarious 2014 production is revived by Opera Australia.

There are Australian accents and idioms aplenty in this exciting new State Opera of South Australia opera being premiered in Adelaide.

Would Britain enjoy 'The Rabbits'? For that's how the new Australian family opera allegorises the colonial Poms who came to this Terra Nullius  Downunder, denying the existence of the native Aborigines - appearing as Marsupials in this opera.