En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Robert Winslade Anderson

The inaugural production of Oxford's new “international” company lacks direction, but Carmen Giannattasio’s Tosca makes the trip worthwhile. 

Amid the rough winds of late May, Julia Burbach directs Opera Holland Park's first venture into Wagner – The Flying Dutchman. 

Sir Jonathan Miller’s production of Puccini’s classic remains powerful, but ENO’s latest revival underwhelms at the Coliseum. 

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

Not since Monty Python has there been more fun with a chorus of lumberjacks.

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera is – for him – a tame affair. 

In his programme note, director John Fulljames remarked that “any opera has many layers of authorship”, and that is truer of American Lulu than most.Alban Berg compiled the original libretto for Lulu (1929–34) from two plays by Frank Wedekind: Erdgreist (“Earth Spirit”, 1895) and Die Büsche der Pandora (“Pandora’s Box”, 1904). At the time of Berg”s death in 1935 the third act remained incomplete.

When Emperor Überall decrees an all-pervasive war that will result in the death of his whole population, Death takes umbrage at the fact that his job is being usurped and, in the mother of all demarcation disputes, goes on strike.

The concept of freedom is at the heart of Opera North's current production of Fidelio. As soon as you open your programme, you are encouraged by the company's General Director Richard Mantle to consider Beethoven's only opera as having something to say about the struggle for liberty that has been taking place in the Middle East over the past few months.