Live, Video: Find classical music concert, opera, ballet and dance reviews | Stephen Gadd

Some good singing performances can't overcome a dated feeling of Gilbert's humour: the evening improves as the storm clouds gather.

Deftly conducted by Charlotte Corderoy, Cecilia Stinton's new production of Rossini's immortal comedy brims with fun.

A standout performance by Alison Langer as Gilda lights up an Opera Holland Park season opener marred by illness. 

Puccini's Giselle-inspired opera is given a superb staging by Martin Lloyd-Evans to deliver Opera Holland Park's banger of the season. 

At a time when the “relevance” is bandied around all too frequently in relation to opera, Martinů's really does deserve that tag. 

The French-Sicilian tenor shines in Sir David's McVicar's pristine take on Umberto Giordano's slice of verismo. 

More relevant than ever, the patriarchal nightmare of Verdi's Rigoletto is dark and unflinching in Scottish Opera's revival of their 2011 production, with some striking scenes and fine singing.

A spirited and seamless production of Strauss’s Ariadne is aided by some excellent singing and playing at London’s premier summer opera festival.

Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.

Jonathan Dove’s witty Flight at Scottish Opera is finely sung by a tight ensemble with standout performances from Jennifer France and James Laing.

Robert Hayward was unafraid to 'go ugly' when need be in Jurowski's symphonically executed concert performance. 

There are no answers, nor indeed many probing questions, in this Scottish Opera revival of Sir David McVicar’s production from 2008, but it is sumptuous and enjoyable.

A searing, edge-of-your-seat spinetingler from Elijah Moshinsky makes the strongest possible case for Verdi's first Macbeth, ideally suited to the proportions of Buxton's beautiful Opera House.

Opera North's Hansel and Gretel at the Grand Theatre Leeds, directed by Edward Dick, is witty and perceptive, with some insights provide by Freudian psychanalysis

Scottish Opera may be admirably committed to Mascagni's under-appreciated opera, but the musical quality and vision are lacking.

Using Stephen Medcalf’s 2008 staging, this opening night of love and loneliness was a feast for the eyes, a musical triumph and a dramatic tour-de-force that tugged at the heart strings.

Amateur gangsters, but a nicely sung, if rather staid Lucia di Lammermoor at Buxton, worth seeing for its excellent mad scene.

Opera Holland Park give us a broad span of human joys and tragedies in an excellently staged and acted rendering of Puccini's Il trittico.

Esa-Pekka Salonen conducts the Philharmonia in a fine account of Mahler's mighty “Symphony of a Thousand”, culminating in a dramatic realisation of Faust's redemption.

Bringing Peter Grimes to Grange Park a year after the Britten centenary is an enormous challenge. With ‘Grimes on the Beach’ still fresh in the memory, the task of recreating the Suffolk coast in Hampshire’s idyllic countryside might have seemed a step too far. 

This BAM production of Benjamin Britten’s Billy Budd, imported from Glyndebourne, achieves the rare distinction of making a great performance out of a decidedly mediocre work.

The silence at the end of the concert said it all. To have plunged the attention of the entire Royal Albert Hall into utter silence for a whole minute after the music has finished was an impressive feat. Such was the audience response to Mark Padmore’s closing walk down the back of the stage, as Captain Vere.

You can view Britten’s Billy Budd as an opera about the failure of words. When the angelic sailor Billy is falsely accused by his superior office Claggart, his stammer prevents him from defending himself and he lashes out, fatally.

As I left Holland Park after last night’s Cavalleria Rusticana and Pagliacci, I found myself wondering what they’d put in the orchestra’s cups of tea at the interval. Or, perhaps, what was it that conductor Stuart Stratford said to them.

Buxton, a small spa town in Derbyshire, has been home to one of the most imaginative and important festivals in Britain for over thirty years.

If your favourite part of opera is a soaring melody which stays in your head long after the opera is over, they don’t come much better than Un bel dì in Puccini’s Madama Butterfly, in which our enraptured heroine sings of the day that her husband’s ship will reappear on the horizon. At Grange Park last night, Claire Rutter did it full justice.

For its centenary concert – given on 11th September 2011, in Cheltenham, and at Poole Lighthouse on Tuesday 13th September – Bournemouth Symphony Chorus paid tribute to those who fell victim to the catastrophic act of terrorism that shook the world ten years before.

Alfredo Catalani's La Wally is the last of three rarely performed Italian operas from the late 19th century verismo period to feature in Opera Holland Park's 2011 season. Catalani belongs to group of composers whose place in the modern repertoire suffers from the problem of "not being Puccini," the more poignantly since he was born in Puccini's home town of Lucca.

History has cast a complex light on Wagner’s music and on Wagner the man. But Tristan & Isolde (Wagner’s enormous vision of erotic love) is an opera that can still resonate today. Nietzsche referred to its “dangerous fascinations”, “spine-tingling and blissful infinity“ and “voluptuousness”. This was Grange Park Opera’s first foray into Wagnerian opera.