Live, Video: Find classical music concert, opera, ballet and dance reviews | Peter Kirk

It’s a risky business to describe comic nuance or timing, so please take my word that these qualities were as pitch-perfect as the vocal prowess on display.

John Savournin directs Opera Holland Park's end-of-term G&S romp.

Britten's four lovers were costumed in quasi-contemporary, even glamorous manner, stripping to their underwear for the end of Act 2... so more Love Island than Ancient Athens.

Carried by a handful of standout performances, Britten’s story of madness and infection comes into its own in 2021, in the Opéra National du Rhin's clever and inventive staging. 

Movement was so effectively utilised in this production, with elements of ballet, modern and Scottish folk melded in true Agnes de Mille fashion.

Despite the excellent playing of the Britten Sinfonia, Anna Morrissey’s flawed production disappoints. 

Philip Pullman's exotic adventure about a girl determined to follow her father's footsteps gets a gently magical outing with Sri-Lankan inspired shadow puppetry and a strong cast. 

Wit is the ruling spirit of British Youth Opera’s delectable production of Benjamin Britten and W.H. Auden’s operetta Paul Bunyan, directed by Will Kerley.

“Bring it on”. This was the response of Nicholas Sears, Head of Vocal Studies at the Royal College of Music, when Iain Burnside sketched out his plan for a music theatre event that would almost certainly cross boundaries of taste.

British Youth Opera have been fostering the best of young British vocal talent for 25 years, and it’s a delight to see them celebrating their anniversary this year with a work precisely as old as they are: Judith Weir’s A Night at the Chinese Opera dates from 1987, and made for a lively showcase for these rising stars at London’s Peacock Theatre last night.

David Bösch monte une formidable nouvelle production d'Irrelohe de Franz Schreker, compositeur encore trop rarement joué. Sous la baguette habile de Bernhard Kontarsky, Ambur Braid se distingue dans le rôle d'Eva.

La synthèse de l’opéra romantique allemand, de l’opéra-comique français et de l’opera buffa italien qu’accomplit ce Liebesverbot en dit long à la fois sur les mutations de l’opéra d’alors, et sur le style propre, à défaut de l’esthétique, que Wagner développera par la suite. 

Pour cette nouvelle production du célèbre opéra de Tchaïkovsky, l'Opéra national du Rhin a fait appel à la baguette de Marko Letonja et à la mise en scène de Robert Carsen.