Live, Video: Find classical music concert, opera, ballet and dance reviews | Pavel Černoch

Romeo Castellucci's new production of Daphne for the Staatsoper reflects on our relationship with nature, subverting the perspective of Richard Strauss' opera.

Director Lotte De Beer's thoroughly realized, aesthetically rich and beautifully executed production of Janáček's masterpiece is anchored by strong performances from Nina Stemme and Svetlana Aksenova.

Dmitri Tcherniakov updates the "German Romantic Opera" into a modern-day thriller with interesting twists in a musically splendid performance in Munich.

Barrie Kosky's makes a limited impact in his debut at Opéra de Paris, apart from an hallucinogenic Polovtsian Dances.

From stylised 16th-century dress to a 1970s sitcom ballet, Konwitschny's Staatsoper staging is full of brilliantly inventive touches, splendidly realised in this excellently sung revival. 

Amanda Majeski is magnificent in the title role; Ed Gardner shows total master of Janáček's music. But that's not enough to rescue a poorly thought out Richard Jones production.

Katie Mitchell's second production of Jenůfa is a straightforward, effective reading of the libretto well supported by excellent singing actors.

Jakub Hrůša leads a brilliant performace of Dvořák’s Requiem, but it doesn't completely dispel doubts about the work.

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

Krzysztof Warlikowski’s new Paris staging of Verdi's epic Don Carlos is cold and glassy, but the vocal performances at the Bastille more than compensate.

Munich revived a thoughtful modern production of Janáček's Jenůfa, with fine orchestral direction and strong singing doing full justice to the rich score.

In April, Peter Mattei and Anna Netrebko were starring together in Eugene Onegin at the Metropolitan Opera. Less than a month later and they are reunited in Paris in Willy Decker's staging.

Tcherniakov's moving production delves into the psychological rather than revelling in the spectacular. 

American violinist Joshua Bell updates a tradition with class and panache in the Czech Philharmonic's season opener.

Willy Decker's gloriously sung production of Janáček’s Káťa Kabanová in Oslo made for a uniquely powerful performance.

Traditionally at the Proms, Beethoven’s Ninth Symphony is reserved for the penultimate prom slot in September, but this year, they have made an exception and given it to the CBSO and Andris Nelsons.

“The very incarnation of vice” was how one critic described Célestine Galli-Marié’s Carmen at the opera’s 1875 Opéra Comique première. That description could equally be applied to Stéphanie d’Oustrac in Glyndebourne’s revival of David McVicar’s terrific production.

Herausragende stimmliche Leistungen und Antonello Manacordas Leitung werden in der Staatsoper begeistert aufgenommen.

A priori intéressante, l'idée de Rafael Villalobos de greffer le destin de Pasolini sur celui l'œuvre de Puccini ne prend pas, en dépit d'une distribution engagée et d'une direction d'orchestre remarquable. 

Âmes sensibles s'abstenir ! La nouvelle production de Lady Macbeth de Mtsensk à l'Opéra de Paris, dans la mise en scène de Krzysztof Warlikowski, nous montre l’homme dans toute sa crasse et sa noirceur.

C’est peu dire que la nouvelle production de Warlikowski, après les deux reprises qui ont ouvert cette saison de l’Opéra de Paris, était attendue. Promesses tenues.

Warum Rimsky-Korsakows Oper nicht längst zum Kernrepertoire gehört, fragt man sich bei dieser glanzvolle Wiederaufnahme.

Mit der Sache Makropulos setzt die bayerische Staatsoper gleich zum Beginn der Münchner Opernfestspiele einen überwältigenden Akzent – dank Nadja Michael.

La production légendaire de Robert Carsen revient à l'Opéra de Paris, servie par un plateau soliste inégal.