Find classical music concert, opera, ballet and dance reviews | Rossini

The Deutsche Oper's production of Rossini's sparkling occasion piece is big on gags but short on stardust.

The William Tell Overture promises much, Grieg and Tchaikovsky are well played but struggle to escape the routine.

The Rotterdam Philharmonic marked their centenary with two concerts starring mezzo-soprano Joyce DiDonato. A bittersweet weekend, during which they also took leave of their beloved principal conductor Yannick Nézet-Séguin.

From the stately front of The Grange, an impressive moustache looms large, welcoming the audience to a production of Rossini's masterpiece that baffles, confuses and delights the audience.

Rachel Kelly shines in a mixed production at Lismore Castle. 

The inventiveness of Ruth Berghaus' classic staging is a clear as ever, even if this revival occasionally loses focus.

Trottmann used profile, posture and facial expression to bring each song to life. 

David Pountney’s 2014 staging was revived in Naples with good singing and empathetic conducting.

ETO's extracts from Rossini's serious operas at the Hackney Empire lacked spark and dynamism, but saw a fine showing from Elena Xanthoudakis and Catherine Carby.

Despite a great cast, the Metropolitan Opera's revival of Semiramide bores with tacky costumes and no direction.

A truly magnificent evening from Chailly and his Milanese orchestra.

At its 2015 inauguration at the Royal Opera House, a controversial rape scene in Act 3 drew outrage from the audience and critics alike. Now the Teatro Massimo is presenting the production once again.

The biggest stigma associated with opera in Ireland is not that it is an elitist art form, but that it is not “Irish”, and that it doesn’t belong to Irish culture, more of a recent import, like pasta, or avocado.

Carlo Rizzi conducts The Hallé in a programme of inventive and thrilling approaches to Resoighi, Rachmaninov and Rossini at Bridgewater Hall.

Cecilia Bartoli and Sol Gabetta show impressive camraderie in Baroque arias.

Lindy Hume's Victorian production brings to life Cinderella's story through the capable hands of Jean-Christophe Spinosi.

Lengthy but full of melodic invention, Semiramide finally made her triumphant return to the Royal Opera in David Alden's fine new production.

After a nine-year absence, Martha Argerich returned to Carnegie Hall with stunning Prokofiev with the Orchestra dell'Accademia Nazionale di Santa Cecilia.

François de Carpentries' Oslo production of The Barber of Seville was both unfunny and underwhelming. 

A revival of Arden's 2016 production of Rossini's Il barbiere di Siviglia is lifted by a strong ensemble cast for Glyndebourne's tour.

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

Questionable identities, clandestine messages, love and money are the stuffs of Gioacchino Rossini’s Il barbiere di Siviglia, revived again in Zurich.

Emilio Sagi’s brightly lit but simplistic staging of Il viaggio a Reims moves the action from northern France to a sunny spa hotel in warmer climes.

Several of Tokyo’s finest collaborate in successfully delivering a re-opening concert at Suntory Hall

Roberto Abbado leads a strong cast in an inspired production by La Fura del Baus.

Mario Martone's 2006 production captures both the aesthetic and the spirit of the age.

The young tenor Maxim Mironov, who played the poet Giocondo, was the name on everyone's lips by the end of the show. His voice is a modestly-sized and soft-grained, but it is beautifully produced, and focuses to a laser-like point up top.

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

Rare repertoire, polished orchestral playing, thrilling singing – it's no wonder London's operatic cognoscenti were out in force.

Mismatching between programme and performers resulted in a disappointing evening of operatic all-time favourites.

Garsington's latest Rossini buffa is on the nail orchestrally, mixed vocally and one of the best pieces of acting and stage movement you'll see in opera.

Daniela Barcellona and Jessica Pratt lead a strong cast in an emotional and elegant performance of the first opera seria by Rossini under the expert baton of Roberto Abbado. 

Wolf Trap Opera delivers high camp Rossini true to the composer.

A thrilling finale to the 2017 Cardiff Singer of the World

Lord Sidney's contemplation of the insanity of the world seems to be the impetus for this delirious production. So endless is its stream of gags that to attend this show is to be left feeling exhausted.

It's typical that in the last concert in a series that has lasted seventeen years, we had a recital from a talented young singer with a growing reputation, a Rosenblatt classic.

Bartoli shines in another Rossini role supported by an uneven cast.

This was less a concert of two halves than one of two tenors: able to dramatise the music of Puccini and Verdi far more effectively than his earlier Mozart, Flórez came alive.

All roads lead to Rome. Last night however, the Orchestra dell'Accademia Nazionale di Santa Cecilia brought the Eternal City vividly to London.

La gazza ladra celebrates its 200th anniversary with a new production at La Scala, an earthbound effort from director Gabriele Salvatores, but it was Riccardo Chailly who drew the wrath of sections of the Milanese audience. 

Jennifer France and Nicholas Lester are a compelling double act in Rossini’s sparkling comedy La scala di seta from Scottish Opera in Concert.

Mark Lamos' staging is a riot of colour and movement; George Souglides gives us a masterclass in costumery; fine Italian singing illuminates this Norwegian première for Rossini's madcap Il turco in Italia.

In Livermore's staging the scheme becomes meta-cinematographic: the poet Prosdocimus here has Marcello Mastroianni's features in Fellini's film 8 ½.

Tara Erraught offered a programme that combined well-known arias with obscure German Lieder, showing off a voice strong in technique and colour that left the audience wanting more.

Valery Gergiev's late withdrawal meant Marios Papadopoulos, music director of the Oxford Philharmonic, stepped into the Russian's shoes. 

The Rossini masterpiece is brought to life by an inspired conductor and four first-class singers in a new, modern production by David Alden.

The chemistry between Muti and the CSO continues to sizzle in a Rossini overture, a Mendelssohn symphony, and a Beethoven piano concerto with Yefim Bronfman.

La Cenerentola is the final component of Opera North's fairytale season, with every voice and every character getting a chance to revel in Rossini's intricate ornamentation.

Exuberant celebration of La Cenerentola's 200th anniversary by Cecila Bartoli and her colleagues at the Concertgebouw.

On the 200th anniversary of La cenerentola's première, Bartoli & co tour Europe and bring Rossini's sparkle to the Dortmund Konzerthaus.