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

As the Governess Alison Rose was the ideal suffering soprano, her eyes an imbroglio of psychological disturbances.

Two little-known 18th-century operas are given inventive new productions featuring some promising young singers.

A disappointing staging for the Jette Parker Young Artists' annual showcase at the Royal Opera House. 

A Madama Butterfly from beyond the grave? What would Julia Burbach's concept add to the familiar thread of Puccini's opera? 

This small, fun, fast-paced comedy, probably the UK première of Salieri's neglected fairytale, makes for a glorious garden opera evening at Bampton (and touring). 

If you want to have your operatic head seriously messed with, imagine the following: Così fan tutte staged on the Act I/IV set of John Copley’s soon-to-be-mothballed La bohème, which closed with a double performance on Saturday afternoon and evening. Throw in Don Alfonso sporting frock coat, wig and cane, looking for all the world like Baron Scarpia, and the mash-up of references had my head spinning.

From Studio to Stage was the name of this year’s summer performance by young artists on the Jette Parker programme at the Royal Opera House. The programme includes not only singers but also conductors/répétiteurs, a pianist, a lighting designer and stage director Pedro Ribeiro, who surely wins the prize for best headshot.

Two sisters, a knight, a miller, and a blind harpist. Such is the cast of Tony Harrison and Harrison Birtwistle's Bow Down, their 1977 music-theatre piece currently being toured around the UK by The Opera Group. It's an elemental, mythic piece, but also a testament to the endless capacity for novelty that old, grim folk tales like this have.