Live, Video: Find classical music concert, opera, ballet and dance reviews | Nicole Cabell

Spano marshaled the vast forces with sensitive balance in many moments. But the difficulty of achieving a proper blend amidst the thick timbral texture prevented the performance from reaching transcendence.

The Boston Symphony Orchestra under the baton of Andris Nelsons opens its 139th season with Poulenc, Beethoven and a world premiere of Eric Nathan's Concerto for Orchestra.

Porgy and Bess isn’t a perfect opera, but English National Opera's new production is a strong one. 

Cappella Mediterranea blows life into Eliogabalo’s dark carnival as imagined by Thomas Jolly.

Even us Verdi enthusiasts experience something of a heavy tread as we wend our way to yet another Traviata at the Royal Opera House.

At very short notice David Hill stepped in to conduct an all-French programme with the London Symphony Orchestra where serenity, elegance and passion were all beautifully communicated.

Charles Dutoit conducts the RPO in strikingly colourful performances of Ravel's Daphnis et Chloé and Poulenc's Gloria. 

In the last few decades, Bellini’s I Capuleti e i Montecchi has flirted with standard repertory status, but it has not sufficiently won the hearts of opera-goers to warrant more than the occasional production. Though blessed with some of the composer’s finest melodies, the opera has problems for modern audiences.

“Once Upon a Time…” No doubt, this has become one of the most familiar lines of childhood. Indeed, what childhood would be complete without fairy tales and fantastical stories of knights, princesses, dragons, and talking animals? Even into adulthood, fantasy and fairy tales continue to capture the imagination of many.

L’Opéra de Genève s’offre une trilogie autour de Figaro, avec notamment un Mozart pétillant. Il ne restera plus qu’à découvrir le « Figaro gets a Divorce » d’Elena Langer qui viendra clore cette triologie proposée par le Grand Théâtre de Genève. 

L’Alcina genevoise de Nicole Cabell est à elle seule une raison suffisante pour courir entendre ce magnifique opéra d’un Haendel servi par un Orchestre de la Suisse Romande qui se révèle plus baroqueux qu’on ne pouvait l’augurer. On passera sur une mise en scène un peu morne et une distribution un brin hétéroclite. 

Cela fait près de vingt ans – et plus de cent représentations – que cette production de La Bohème, mise en scène par Jonathan Miller, ravit les spectateurs de l’Opéra de Paris.