Live, Video: Find classical music concert, opera, ballet and dance reviews | Katie Stevenson

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

Breastplates are back in vogue, but comedy horses and cheap production values undermine the first chapter in English National Opera's new Ring cycle. 

Wagnerites can get their fix in London this week, where Die Walküre opens the Grimeborn Festival in Julia Burbach's new production of the adaptation by Graham Vick and Jonathan Dove. 

Three performances in five days take their toll in a tight schedule of this concert production run in the Cotswolds. 

Anthony Minghella's classic production of Madam Butterfly makes a welcome return with a sensational role debut by Natalya Romaniw as Cio-Cio-San.

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

Philip Glass' hypnotic opera returns in Phelim McDermott's outstanding production that respects the solemn, statuesque grandeur and epic ritual of the score. 

A twist on the usual Enlightenment path, this is an admirable production, excellently executed.

An opera only ever performed once, over 300 years ago. Would this be a marvellous revival, or a reminder of why it has been neglected all this time?

“Folies Bergère does Greek gods” is how director Martin Duncan describes Offenbach's Orphée aux enfers, and his production for Royal Academy Opera is enormous fun. 

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

In Shoreditch, the Royal Academy of Music showed off some superb singing in a chilling exploration of tyranny and unrestrained power.

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.