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

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates. 

Henry Neill gives a devastating performance as Sam in Trouble in Tahiti in The Royal Opera’s Bernstein double bill in the Linbury Theatre. 

Amanda Majeski reprises her peerless Kátya, but Katarina Dalayman's flint-like characterisation as Kabanicha strikes the most sparks.

Phelim McDermott's popular staging of Satyagraha, which verges on the lush and the voluptuous, is revived to open English National Opera's season.

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

Weill's satirical fairytale bites just as hard today as it did in 1933.

Amanda Majeski is magnificent in the title role; Ed Gardner shows total master of Janáček's music. But that's not enough to rescue a poorly thought out Richard Jones production.

It’s the sprig of nightshade on a blood-red confection.

The father-daughter exchanges between Dmitri Platanias's jester and Sofia Fomina's Gilda prove the highlights of an evening which doesn't always catch fire.

A newly-orchestrated version of Jonathan Dove’s chamber opera drew some impressive performances from Heritage Opera in this pared-down adaption of Jane Austen’s third novel.

Dorset Opera's second opera of their season saw a fiendishly good performance from Mark S Doss as Méphistophélès supported by a strong cast in Christopher Cowell's economical production.

A simple, but funny production with a strong cast and an enthusiastic chorus brought Rossini's comedy to life.

Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.

Melly Still returns to revive her 2012 staging at Glyndebourne, laying nature bare. Cartoonish, but never sentimental, it presents Vixen red in tooth and claw, 

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

Saffron Opera Group's opening salvo bodes exceptionally well for their planned full cycle of concert performances of Wagner's Ring over the next two years. 

Even us Verdi enthusiasts experience something of a heavy tread as we wend our way to yet another Traviata at the Royal Opera House.

Opera Holland Park give us a broad span of human joys and tragedies in an excellently staged and acted rendering of Puccini's Il trittico.

As I left Holland Park after last night’s Cavalleria Rusticana and Pagliacci, I found myself wondering what they’d put in the orchestra’s cups of tea at the interval. Or, perhaps, what was it that conductor Stuart Stratford said to them.

In Harry Fehr’s much-anticipated new production of The Flying Dutchman for Scottish Opera, the setting is in Scotland – as Wagner had originally intended before a last-minute switch to Norway during rehearsals for the first production in 1843.

The set for this Faust is a series of blank screens, which slide about quickly and frequently, tall canvases for constantly changing images provided by Berlin-based video artist Lillevan.