Find classical music concert, opera, ballet and dance reviews | Jamie Barton

Jamie Barton's rich, mellifluous mezzo is ideal for singing Orfeo.

Both vocally and instrumentally the performance  was a high-class one

Jake Heggie's Dead Man Walking is credited as being the most performed 21st-century opera, and with good reason.

Perhaps feeling that the drama and emotion of the Ring Cycle wasn't enough for one year, Antonio Pappano assembled a strong quartet and deployed the ROH's forces in a powerful, moving performance of Verdi's Messa da Requiem.

The world is gloriously redeemed in the gripping final installment of San Francisco Opera's Ring cycle.

San Francisco Opera's Die Walküre overcame a disappointing first act, winning the audience over with excellent singing and playing and impressive stage effects.

At San Francisco Opera, conductor Donald Runnicles and a top-notch cast deliver a delicious Rheingold in Francesca Zambello's colorful production.

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

The winter revival of the Met’s opening night Norma brought a new conductor and new stars in the main two female roles.

It was fitting that Marin Alsop – Bernstein’s protégé in his final years – should pair Mahler and Bernstein symphonies for this second LSO concert marking his centenary.

Jamie Barton stole the show in a lacklustre concert performance in Madrid.

Alan Gilbert reaches a pinnacle at the end of his tenure at the New York Philarmonic.

The Metropolitan Opera's new produdtion of Rusalka fails to explore a deeper complexity of the fairy tale, although a strong ensemble of singers and the superb Met Orchestra make it a musically compelling performance.

Elijah Moshinsky’s 15-year old production of Verdi’s Nabucco has returned to the Met, ostensibly as a vehicle for Placido Domingo.

The summer’s extreme heat and lack of rain have created drought conditions in Atlanta. As fate would have it, the Atlanta Symphony Orchestra this week programmed two works drenched with water, albeit of the salty variety.

Spine-tingling moments in the Toronto Symphony's Mahler Three under Peter Oundjian. 

Francesca Zambello stages a new production of Robert Ward's opera The Crucible at the Glimmerglass Festival in upstate New York. 

Liudmyla Monstyrska and John Relyea turn in strong performances and Plácido Domingo confirms his hallowed status, but Daniele Abbado's direction remains unappealing in this first revival.

Tonight’s Götterdämmerung brought the cycle to a fitting – and wholly American – conclusion. 

Angela Meade is the standout on opening night of Los Angeles Opera's Norma.

In Anna Bolena, Sondra Radvanovsky plays a queen who loses her crown. But she approaches a different coronation: as the first to play three of Donizetti's Tudor Queens at the Met.

Jamie Barton emerged as the star of the OAE/Marin Alsop's all-Brahms Prom, which included the first Proms performance of Brahms' Triumphlied.

To open its season, Seattle Opera presents its first-ever Nabucco in a production undermined by weak staging and uneven casting.

All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.

American soprano Sondra Radvanovsky is the reason to see Anna Bolena, though the production provides plenty of other reasons to stay. 

San Francisco Opera opens its 92nd season with Bellini's Norma starring Sondra Radvanovsky as Norma and Jamie Barton as Adalgisa.

Britten's Spring Symphony and Ryan Wigglesworth's Locke's Theatre join with Rudolf Buchbinder's thrilling account of Rachmaninov's Rhapsody, all conducted, at short notice, by Brett Mitchell, Franz Welser-Möst's assistant.

When the Met estimated the timing for Norma, Bellini’s familiar bel canto opera included in their fall repertory this year, they did not factor in the ongoing applause for soprano Sondra Radvanovsky.

On Friday, a new co-production of Die Meistersinger von Nürnberg opened at the Lyric. The only comedy among Wagner’s mature music dramas, its sound is very much like that of the better-known tragedies – brassy, overfull, with a core of strings teetering at vibrato’s edge.

The prefab riffs of computer programs like GarageBand aren’t entirely new. As shown by the musicologist Robert Gjerdingen, many 18th- and early 19th-century composers used pedagogical materials as a basis for their compositions, “composing out” passages in creative ways. But this method is not something the ordinary listener is supposed to recognize.