Live, Video: Find classical music concert, opera, ballet and dance reviews | Ashley Holland

Richard Ayres's Peter Pan, in a new WNO production, leaves J.M. Barrie's story dangling. 

Hansel and Gretel is often treated as a children's opera, suitable for family viewing at Christmas, but as Richard Jones' production demonstrates, it is a good deal darker than that.

Lothar Koenigs conducts a stylish, colourful Magic Flute inspired by Magritte. 

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.

In Act II of Tannhäuser, Hermann, Landgrave of Thuringia, sets the theme of the singing contest that is about to take place in his hall by asking: “Can you describe love’s nature to me?” To some extent, the entire opera is an examination of two very different answers to that question.

David McVicar’s production of Berlioz’s opera Les Troyens at the Royal Opera House last month was notable for several reasons. Firstly, stellar vocal performances from world-class lead singers; secondly, brilliant acting; thirdly, ravishing music; and lastly, a memorable set – including a curious giant horse and human made out of what looked like scrap weapons and tools.

It's one of the most famous, most studied, most archetypal passages in epic poetry: in Book I of Virgil's Aeneid, the Trojans, exhausted from their voyage and desolate at the loss of their city, gaze down on the city of Carthage as it rises from the African soil, its people scurrying like worker bees in their manifold tasks.

In Janáček's opera The Makropulos Case, the operagoer must accept a single premise of implausible fantasy: from then on, the action flows inexorably and logically to its conclusion. It's a device used by a great deal of fantasy literature, from the low-brow of The Day of the Triffids to the high-brow of Janáček's compatriot Kafka's Metamorphosis.

El Gran Teatre del Liceu presenta, ante una gran expectación, Benvenuto Cellini de la mano de Terry Gilliam. Tras una intensa campaña promocional, asistimos a un gran éxito de la temporada, con Josep Pons en la dirección musical y John Osborn y Kathryn Lewek en los roles principales.