Live, Video: Find classical music concert, opera, ballet and dance reviews | Daniela Mack

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

Lawrence Brownlee further cements his status as the world's leading bel canto tenor with a blazing performance as Rodrigo, the unlikely central figure in Rossini's rendering of the Shakespearean tragedy.

Amid an uncertain future for the Mostly Mozart Festival, conductor Louis Langrée led a fiery program that overflowed with rage rather than grief.

The five female voices in the opera's main roles complement each other wonderfully in this more-than-concert performance in New York. 

James Darrah stages Handel's sensual oratorio for Festival O, a feast of wonderful singing. 

Jane Glover conducts a skittish Mozart's Così fan tutte for Kansas City's Lyric Opera.

Paul Curran's movie-Like Carmen for Opera Philadelphia

Puts’ and Campbell’s fast and furious neo-Victorians launch Philadelphia’s Annual Opera Festival.

David Alden's staging of Alcina mines the rich theatricality of one of Handel's best-loved operas with enchanting but also perplexing results. 

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.

For the latest revival of Moshe Leiser and Patrice Caurier's candy-striped production, the Royal Opera serves up the operatic equivalent of stodgy semolina.

Charles Dutoit's mostly Spanish program was highlighted by two major scores of Manuel de Falla.

Director Christopher Alden's charming Partenope slinks its Surrealist way into San Francisco.

The final production of the San Francisco Opera’s fall season was a new staging of Rossini’s Il Barbiere di Siviglia, advertised everywhere as The Barber of Seville.

The full name of Handel's opera is Giulio Cesare in Egitto: it depicts a historically loose version of Caesar's sojourn in Alexandria, during which Pompey is murdered, Ptolemy is killed in battle and Cleopatra is installed as Queen.

After the success of Benjamin Britten’s opera The Rape of Lucretia, Britten and director/librettist Eric Crozier discussed future operatic projects. The composer wanted his next opera to be a comedy and insisted that it be set in England. When Crozier suggested adapting Guy de Maupassant’s La Rosier de Madame Husson, Britten knew he was on to something good. Indeed, it was an ideal choice.

Christopher Alden trae al Teatro Real de Madrid una Parténope al estilo art decó dinámica de la que supo exprimir toda su comicidad.

Une bien belle soirée ravélienne, qui aura mis en valeur un Orchestre de la Suisse Romande décidémment en grande forme sous la direction raffinée de Charles Dutoit, expert de la musique française.