Live, Video: Find classical music concert, opera, ballet and dance reviews | Kwangchul Youn

Marco Armiliato’s conducting thrills and Federica Lombardi's radiant Amelia stands out in the Wiener Staatsoper’s latest revival of Simon Boccanegra.

For whatever reason Fabio Luisi chose Verdi's Requiem for his inauguration concert with the NHK Symphony Orchestra, Tokyo, it turned out to be an apt and poignant choice.

The performance of Wagner’s Lohengrin transcends Andreas Homoki's curious staging, redeemed by vocal and orchestral performances that shine in their nuanced artistry.

Daniel Barenboim conducts an underwhelming cast in the Staatsoper's new Samson et Dalila, and Argentinian director Damián Szifron's operatic debut is stale and cliché-ridden. 

Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. In the title role, Lisette Oropesa demonstrated elegant and incisive singing, while Michael Fabiano was her virile and powerful partner.

Sultry Berg and and a lithe, forceful Beethoven Nine herald an exciting new reign in Berlin.

Anna Netrebko shines opposite Plácido Domingo in Harry Kupfer's uncertain new production.

Bartlett Sher's production of Gounod's Romeo et Juliette returns to the Met. 

As clearly visible on all photos, the Sydney Opera House has two “sails”, interconnected major sections. One of them houses concerts, the other operas. Opera performances, however, are not exclusively taking place in the Opera Theatre.

Sir David McVicar's production of Tristan und Isolde premiered at the Wiener Staatsoper in 2013, and was then recognized as a friendly platform for singers. Here it is freshly revived with a new cast.

Don Giovanni is an opera which has as its title character a man who is an unrepentant womaniser, who ultimately receives his just reward in one of the most famous scenes in opera where he is consumed into the fires of hell.

Fabio Luisi conducts a solidly cast Guillaume Tell with panache, Rossini's final opera returning to the Metropolitan Opera after a long absence. 

Simon Keenlyside returned to the Met after absence and led a delightful cast of Don Giovanni at the Met.

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

A brilliant revival of Donizetti's Maria Stuarda at The Met centres on the dramatic confrontation between Queen Elizabeth I and Mary Stuart at Fotheringhay. 

Staatsoper Berlin opens its season with a strong new production of Die Meistersinger von Nürnberg that pays homage to the past and at the same time points to the future.

An updated but otherwise traditional Flying Dutchman directed by Jan Philipp Gloger offers plenty of enjoyment at Bayreuth, although it might not linger in the memory as long as the more controversial fare at the Festival

Frank Castorf's Soviet-era farm-setting does not obtrude on the emotional core of Wagner's Die Walküre, with excellent performances from Johan Botha, Anja Kampe and Claudia Mahnke, with superlative playing from the Festival Orchestra.

Earnest singing and dramatic insight made Das Rheingold with the Hong Kong Philharmonic a remarkable evening. 

Fidelio waves goodbye to Barenboim at La Scala, and a fine production marks the occasion with a firework display. 

Kirill Petrenko starts Die Walküre with a flourish as Frank Castorf’s staging takes us back to the Baku oilfields in late tsarist Russia.

Art installation of a biogas factory is the setting for a mostly undistinguished musical performance.

Christian Thielemann and his orchestra were the stars of an excellent performance of Wagner's Der fliegende Holländer. 

A modern, simple production of Simon Boccanegra at Dresden's Semperoper, doesn’t interfere with the action.  

What is perhaps even more remarkable than the unabashed grandeur of the new Parsifal at the Lyric Opera of Chicago is the degree to which its spectacle draws on the images and genres of 20th-century media technologies including popular music.

When most of us feel like we’re getting a little stale with a piece of work we’re doing – when the thoughts, words or ideas are drying up – we stop for a coffee, stretch our legs, or do a bit of internet browsing. When Richard Wagner realised inspiration was running low for Siegfried, he decided to have a break from it too.

It’s very difficult to write about Berlioz’s Les Troyens without mentioning its length. Tonight’s cinema screening of Fransesca Zambello’s lush production was billed at 341 minutes – that’s 5.6 hours. But beamed live from the Metropolitan Opera in New York, those 5.6 hours entailed spectacular operatic entertainment.

Read our review of Mary Zimmerman's production of ­Donizetti's Lucia di Lammermoor in its 2011 broadcast from the Met Opera in New York.

El tándem formado por Heras-Casado y Bieito lleva de nuevo a l'Opéra national de Paris la tetralogía de Wagner.

Les habituels pensionnaires de Radio France ont donné à la Philharmonie une grand-messe wagnérienne qui, malgré le miracle Miina-Liisa Värelä dans le rôle d'Isolde, ne s'est pas révélée transcendante.

Philippe Jordan und das Staatsopernorchester liefern den perfekten Klangteppich für die Schagerparade.

Très attendue depuis son annulation pour cause de Covid-19, la Tétralogie selon Calixto Bieito déçoit grandement pour son premier épisode, et ni la fosse ni la distribution vocale ne compensent cet échec.

Si la mise en scène complexe et confuse de Kirill Serebrennikov ne sert pas le drame wagnérien, la direction d'Alexander Soddy et la performance de la distribution, de l'orchestre et des chœurs rehaussent la production.

Vorgeschmack auf Bayreuth: Pablo Heras-Casado gelang mit dem SWR Symphonieorchester ein magischer Parsifal-Klang. Da darf man seinem Debüt auf dem Grünen Hügel in diesem Jahr mit großer Spannung entgegen sehen.

En 2018, l’Orchestre philharmonique de Radio France prend une bonne résolution : désormais, le premier concert de l’année sera systématiquement consacré à la Neuvième Symphonie de Beethoven. Retour sur une « première » réussie.

Mise en abyme du drame qui conduira Rigoletto à vivre errant comme un défunt, cette production mise en scène par Claus Guth et portée par une distribution vocale très juste s'avère tout aussi saissisante qu'étonnantament lumineuse dans ce qu'elle révèle pourtant de plus sombre des affects humains.

La Fura ofrece en este Holandés un espectáculo mayúsculo, de una superficialidad inteligente, acompañado por un elenco solvente y un foso con escaso sentido narrativo. 

Loin de toute la monumentalité qui a pu rendre indigestes les belles mélopées et accents verdiens, souvent cantonnées aux grandes pompes et à un logos lourdement orientaliste, cet opéra à l’écriture pourtant raffinée, et à la profondeur mésestimée, méritait une telle relecture.