Live, Video: Find classical music concert, opera, ballet and dance reviews | Mark Pullinger

The first new production of Alessandra Ferri’s directorship of the Wiener Staatsballett sees the European premiere of Alexei Ratmansky’s narrative ballet Of Love and Rage under its new title, Callirhoe.

It may be on its 663rd outing, but Margarethe Wallmann's Tosca is a classic for a reason, as proved in this outstanding performance at the Wiener Staatsoper. 

John Wilson brings his Sinfonia of London to the BBC Proms to crown the Ravel 150 celebrations with a glowing performance of his hedonistic symphonie chorégraphique.

Born to a Basque mother just ten miles from the Spanish border, Ravel excelled at authentic Spanish flavours as heard in this splendid festival concert by the Orchestre National de France.

Don Quixote provides the inspiration for songs by Ravel and Ibert, the high point of a bitty programme in contrast to an early evening recital which followed the perfect trajectory.

At the Festival Ravel, Bertrand Chamayou, Pierre-Laurent Aimard and Hyunji Kim perform all the solo piano works at the Église Saint-Vincent, a stone’s throw from the house where Ravel was born.

Between gigs at Wembley as Coldplay’s support act, the Simón Bolívar Symphony Orchestra brings its distinctive brand of infectious music-making to the Southbank.

Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

The Swedish clarinettist pays tribute to two jazz legends in Joshua Weilerstein's programme that includes Proms debutante, Elsa Barraine, and Rachmaninov.

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 

After 45 years, Ambroise Thomas' Hamlet returns to Buxton in a gripping, psychological staging by Jack Furness. 

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Pet Halmen’s 2003 production of Puccini's unfinished final opera places asks more riddles than Turandot's quiz questions to her would-be suitors. 

Olavinlinna, also known as St Olaf's Castle, provides an atmospheric setting for Verdi's take on Shakespeare's “Scottish play”. 

Sir David Pountney's 1997 staging for Welsh National Opera is given a welcome new lease of life at Grange Park Opera, splendidly cast... with one major exception. 

The Orchestra of the Age of Enlightenment and Dinis Sousa bravely venture into Elgar at the Queen Elizabeth Hall, with mixed success.

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

Longborough Festival Opera, built on Wagnerian foundations, stages the UK premiere of Avner Dorman’s ambitious cautionary tale about the Wagner clan and establishing the composer’s legacy. 

Two notable debuts dominate Oper Leipzig's notable Lady Macbeth revival: Kristine Opolais as Katerina and Andris Nelsons in the pit. 

The combined forces of the Gewandhaus and Boston Symphony unite under Andris Nelsons for a searing Leningrad Symphony, while the Quatuor Danel tackles the string quartets. 

Carlos Acosta devises a programme of Ballets Russes highlights to celebrate Serge Diaghilev and to showcase the young dancers of Birmingham Royal Ballet’s junior company, BRB2. 

Pimpinone was conceived as a musical interlude – or intermezzo – between acts of Handel’s Tamerlano. Here, it marks the first time a Telemann opera has been staged at Covent Garden. 

As part of the Southbank Centre's Multitudes festival, Shostakovich's Leningrad Symphony is given a stunning visual direction by Kirill Serebrennikov to match the RPO's gripping playing. 

William Kentridge's film, a patchwork collage depicting Shostakovich's complicated relationship with Stalin, is played as film score to his Tenth Symphony at the Southbank's genre-crossing Multitudes festival. 

Igor Levit champions his young mentee Lukas Sternath in a joint Wigmore Hall recital culminating in Shostakovich's own transcription of his Tenth Symphony. 

The London Philharmonic welcomes back its Conductor Emeritus Vladimir Jurowski for a typically challenging programme of dark Russian and Ukrainian scores.

Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

In the 50th anniversary year of Shostakovich's death, the Czech Philharmonic bring two of the composer's greatest works to the Barbican, the latest stop on their European tour. 

“But, soft, what light through yonder window breaks?” Yasmine Naghdi reaches new interpretative depths in this revival of Sir Kenneth MacMillan’s classic Romeo and Juliet. 

In the 50th anniversary year of Shostakovich's death, you'll be hard pushed to hear a more thrilling rendition of the Tenth Symphony. 

Maurice Ravel the orchestrator takes centre stage at the Musikverein in an evening of descriptive aural painting. 

Muti's Mozart with the Vienna Philharmonic is unfashionably well-upholstered, but their Dvořák New World Symphony is full of satisfying detail. 

Martha Argerich and Mischa Maisky's duo recital at Wigmore Hall turns into a trio... and offers the London audience a rare opportunity to hear the Argentinian pianist play solo.

Norwegian soprano Lise Davidsen returns to Sven-Eric Bechtolf's lean but polished production with an outstanding cast, outstandingly conducted. 

The Grand Théâtre de Genève is certainly not risk-averse and Hungarian director Kornél Mundruczó controversially translates the action to a penthouse bar in New York.

Not a great day for the patriarchy: Ersan Mondtag's gripping new Salome emphasises grotesque caricatures and ends with a bloody, plot-twisting coup d’état. 

From Stonehenge in Vaughan Williams’ Tess of the d’Urbervilles-inspired Ninth Symphony to Arnold Bax’s Tintagel, the LSO heads on a musical tour of western England. 

When is The Nutcracker not The Nutcracker? When's it's mashed together with Tchaikovsky's Iolanta to represent the blind princess’ inner world in a dark interpretation. 

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

Herbert Blomstedt returns to the Philharmonia for Mahler's great symphony of farewell. 

They came for Javier Camarena, but cheered Giulia Mazzola to the rafters of the Teatro Donizetti as the third production of this year's festival opens. 

Bruno Ravella's effective production was seen in Wexford in its original 1822 version, but Donizetti Opera opts for the composer's 1824 revision, throwing the spotlight onto Cecilia Molinari's excellent Abenamet. 

Is Roberto Devereux the finest of Donizetti's four Tudor operas? Stephen Langridge's stylish, stylised production and a wonderful cast under Riccardo Frizza make a great case for it. 

Klaus Mäkelä opens his London Symphony Orchestra debut with Tapiola, gripping from its very first bars. 

The Franco-Serbian violinist dresses like a flamboyant rockstar, but his performance of Khachaturian's raucous Violin Concerto displays an angelic touch. 

From the chrysalis of a Broadway play and then to film, David Henry Hwang's M. Butterfly turns full cycle into an opera by composer Huang Ruo. 

Michael Tilson Thomas returns to the LSO with more Mahler, this time the mighty Resurrection Symphony which finds the conductor in glowing form. 

The Budapest Festival Orchestra travel up the Danube, bringing Brahms back to Vienna with affectionate, passionate performances of the Violin Concerto and the Third Symphony. 

Before heading to the Far East for a 12-concert honeymoon, the nuptials of the LSO and new Chief Conductor Sir Antonio Pappano were completed in the fourth concert at the Barbican.