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Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

“Our business is rejoicing, our business is rejoicing.” In the Soviet Union, composers quickly learnt when to toe the Party line.

The Wales Millennium Centre in Cardiff celebrates its 10th anniversary this autumn, and as part of the celebrations the Mariinsky Opera, under its conductor Valery Gergiev, was invited back for a concert performance of Prokofiev’s comic opera, Betrothal in a Monastery.

Last week, I was lucky enough to visit St. Petersburg to hear two concerts featuring winning pieces from the newly-launched St. Romanos Melodos I International Composers Competition. The aim of this competition is to revive ‘the spiritual and musical traditions founded in pre-revolution Russia’, and it was a fascinating window for me into a very different musical culture.

Why attend a concert performance of an opera? What is the point without the action and the spectacle collectively resulting in, hopefully, the awe-inspiring whole? In answer to this I should like to suggest that concert performances of opera are the perfect opportunity to really ‘get under the skin’ of a work, for two principal reasons.

From Soprano Svetla Vasseliva’s vampish allure to Gianandrea Noseda’s warrior-like conducting, Prom 22 was a quintessentially Romantic affair with Russia at its heart.

Sous la direction frémissante de Valery Gergiev, les troupes du Théâtre Mariinsky se sont surpassées dans l'œuvre de Wagner. Yulia Matochkina a marqué les esprits en Kundry.

Une Iolanta plus candide que jamais, un orchestre du Mariinsky lumineux dirigé par un Gergiev imaginatif : l'opéra de Tchaïkovski couronne en beauté le week-end Saint-Pétersbourg de la Philharmonie de Paris.

In einer konventionellen Inszenierung, aber einem stimmungsvollen Bühnenbild stirbt in Baden-Baden Plácido Domingo als Simon Boccanegra einen würdevollen Operntod.