Live, Video: Find classical music concert, opera, ballet and dance reviews | David Ireland

ENO's revival features a striking performance from Mary Bevan as bride-to-be Susanna, but elements of the staging continue to raise eyebrows. 

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

Chavaz's post-modern mythological approach to Rossini's neglected opera Guillaume Tell pays off with some glorious singing from the principals and the INO Chorus. 

Buxton International Festival presents Rossini's exhilarating La donna del lago with fine singing, but it is undermined by Jacopo Spirei's staging. 

Natalya Romaniw, a diva to her fingertips, proves an ideal Floria Tosca in ENO's open-air performance at the South Facing Festival in Crystal Palace Bowl.

A solid Figaro in Cardiff, in which individual performances are a joy, and humour abounds. 

A fascinating new companion piece to Elgar's Enigma Variations, from 14 contemporary composers, in celebration of Martyn Brabbins' 60th birthday, performed with enthusiasm by the BBC Scottish Symphony Orchestra.

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.

Bleak and uncompromising in vision and intention, Britten's The Rape of Lucretia gets a suitably dark, discomfiting outing at Guildhall. 

A light and sassy comedy from Wolf-Ferrari showcases the latest crop of talent from the Guildhall in a stylish 1960s production from Yannis Thavoris with video by Dom Baker, directed by Stephen Barlow.

In this double bill, we get a violently enthusiastic little farce from Donizetti which, though fiery, is definitely not his best work; but next, we are treated to the revival of a brilliant, beautiful one-act opera by Malcolm Arnold. 

La metteuse en scène allemande Karin Henkel présente le portrait d’une femme instrumentalisée par une société festive où seul l’argent et l’instrumentalisation des femmes règnent en maître.

La mise en scène par Laurent Pelly vient réparer un manque : le chef-d’œuvre onirique et féérique de Britten n'avait encore jamais été donné dans l’opéra de la capitale vaudoise.