Live, Video: Find classical music concert, opera, ballet and dance reviews | Burkhard Fritz

Vladimir Jurowski's six-year Ring with the LPO closes as the cycle began: a gleaming, golden ring with a black hole at its core. 

In a 70th anniversary season dedicated to adaptations of Shakespeare, this concert performance made a compelling case for Karl Goldmark's final opera.

The EIF’s cycle comes to a fabulous end with RSNO and Andrew Davis leading a luxury cast, Christine Goerke’s emotionally powerful Brünnhilde a highlight. 

An exemplary cast, an opulent orchestra and unforgettable images in Arnold Schoenberg’s Gurrelieder.

In a score that can be a Technicolor wallow, Jurowski’s sure sense of dramatic pulse and balance, encompassed the brash dance rhythms, religious grandeur, vivid tone painting and the extremes of dissonance.

A musical performance of stunning quality underpins this revival of Krzysztof Warlikowski's lavish, ambiguous Strauss staging.

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

It’s probably best not to think too hard about the philosophical messages behind Parsifal, but Nelsons and the CBSO provide an emphatic reminder of how transcendent Wagner's music can be.

Dutch National Opera opens its season with a musically and visually staggering world premiere: the first ever operatic staging of Arnold Schoenberg’s heaven-storming Gurre-Lieder.

For an inventive production, fine singing and magnificent orchestral playing, this new Leipzig Die Frau ohne Schatten deserves every success.

Wednesday night’s concert saw the London Symphony Orchestra with principal guest conductor Daniel Harding in what seemed a slightly odd programme, pairing Schubert’s Fifth with Mahler’s Das Lied von der Erde.

Auf den Tag genau 100 Jahre nach der Uraufführung von Erich Korngolds Oper führt die Oper Köln das Werk in einer neuen Inszenierung auf.

Mit Mahlers Achter reizten die Musikerinnen und Musiker der Staatsoper Hamburg alle Reserven aus. Der Akustik der Elbphilharmonie drohte am Schluss sogar der Kollaps, weil Eliahu Inbal insgesamt viel zu laut musizieren ließ.

Avec Le Chant de la Terre, John Neumeier vient clore un long cycle chorégraphique mahlérien initié dès 1974. Pour fermer en beauté cette exploration artistique, le chorégraphe s’attaque à l’une des dernières symphonies de Gustav Mahler, souvent considérée comme sa création la plus intime et introspective.