Live, Video: Find classical music concert, opera, ballet and dance reviews | Oliver Johnston

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.

Conor Hanratty's humorous production is a triumph from beginning to end, a must see at this year's Wexford Festival. 

Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

Quality singing in Cecilia Stinton's new staging comes from touchingly ardent soprano Alison Langer, as Micaëla.

Ullmann's one act opera, written in the concentration camp at Terezin, receives a powerful performance from the BBC Symphony Orchestra.

Opera North performed a semi-staged and shortened Fidelio with a committed group of soloists, chorus and orchestra led by Mark Wiggelsworth.  With a pared Orchestra, the opera came across as a hymn of hope.

Bruno Ravella's fast-paced Falstaff for Garsington still has crucial space for pathos amid the comedy, with a notably subtle central performance from Henry Waddington.  

Opera North's Salome, conducted by Sir Richard Armstrong at Leeds Town Hall, caught the seductive frenzy of the opera.

A newly-orchestrated version of Jonathan Dove’s chamber opera drew some impressive performances from Heritage Opera in this pared-down adaption of Jane Austen’s third novel.

At the opera’s great climaxes Suffolk’s famous wood-and-brick building could barely contain it.

Opera North's production of Benjamin Britten's Billy Budd, directed by Orpha Phelan, is a tense psychological drama which puts the emphasis on issues of democracy and attitudes to dictatorship. 

The 2016 Proms come to a riotous close at the Royal Albert Hall.

“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard. 

At Garsington Opera, Richard Strauss' Intermezzo presents an utterly compelling picture of a mature marriage with its joys and trials; Mary Dunleavy brings it to life with a top class piece of acting.

Royal Academy Opera's thoroughly competent Suor Angelica precedes a fabulously entertaining Gianni Schicchi, with a top drawer performance from Haobin Wang in the title role.

La soprano américaine subjugue dans le rôle-titre, au sein d'une nouvelle production (mise en scène par Barbara Wysocka et dirigée par Elena Schwarz) qui sert efficacement l'œuvre intense de Janáček.

Zum 260. Todestag Händels lädt Das Neue Orchester zu einem feierlichen Messiah.

Bolton, la Orquesta Sinfónica de Madrid, el Coro Intermezzo y el reparto solista evidencian durante muchos de los coros y arias el esplendor que la innovación del lenguaje melódico y armónico alcanza en esta pieza, probablemente la ópera de Mozart más injustamente relegada a una posición secundaria dentro de su propio canon.

Le plasticien et performeur Ben Vautier qui « aime le nouveau » se pose cette question existentielle : « si faire nouveau n’est plus nouveau, ne plus faire nouveau est-ce encore nouveau ? » Le Couronnement de Poppée de Monteverdi donné à l’Opéra de Vichy lui répond par l’affirmatif.