Live, Video: Find classical music concert, opera, ballet and dance reviews | Misha Didyk

Willy Decker does not try to make the structure of the plot any clearer, mainly concentrating on the deeper meaning of the work. The cast was excellent.

A terrific staging of Janáček's opera is successfully revived at the Teatro di San Carlo.

This was more stadium rock than stuffy opera house, lighting as ‘metaphor made real’ as the lovers were – literally – star-struck, blinded by love.

Harry Kupfer's vivid and enlightening production came alive by soprano Anja Kampe's courageous performance and by conductor Oksana Lyniv's briliant direction.

High intensity girl power for a complex task: Simone Young shines in the pit, Karoline Gruber’s staging convinces with expertise and attention to detail.

Originally conceived by Robert Carsen for the Vlaamse Opera, this production of Katia Kabanova is now at Teatro Regio, second chapter of a Janáček/Carsen project.

The role of the outsider struck a chord with Tchaikovsky, whose homosexuality alienated him from society. Stefan Herheim takes that identification as the central idea in his remarkable new production at Dutch National Opera.

In a quirky programme featuring English, Welsh and Russian music the BBC National Orchestra and Chorus of Wales began their new season at St David’s Hall showcasing, with mixed results, their composer-in-association Huw Watkins, Elgar and three Russian composers at different stages in their careers.

From Soprano Svetla Vasseliva’s vampish allure to Gianandrea Noseda’s warrior-like conducting, Prom 22 was a quintessentially Romantic affair with Russia at its heart.

Während das Staatsopernorchester bei Leoš Janáčeks Oper begeistert, vermögen Sängerensemble und Inszenierung den Funken nicht so recht überspringen zu lassen.

Kirill Petrenko und Harry Kupfer haben mit Schostakowitschs Lady Macbeth von Mzensk neue Maßstäbe an der Bayerischen Staatsoper gesetzt.

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.

Brutal, ekstatisch und musikalisch überwältigend – dem Haus am Ring gelingt mit Schostakowitschs Oper fesselndes Musiktheater.