Live, Video: Find classical music concert, opera, ballet and dance reviews | Mark Wigglesworth

The second revival of Richard Jones' staging of Mussorgsky's original 1869 version of Boris Godunov once again stars the Welsh knight. 

The BSO play a trio of 20th-century greats — Ravel and Shostakovich both taking inspiration from the age of jazz, while Walton’s First Symphony provides contrast. 

Polished playing and inspirational performances in Basingstoke that underline the exciting relationship between Mark Wigglesworth and the Bournemouth Symphony Orchestra.

A rare performance of Boulez' Rituel is followed by four Ravel works, including a fine Piano Concerto in G major featuring Bertrand Chamayou. 

At 70 years old, American tenor Gregory Kunde makes a magnificent role debut as Captain Vere, with a strong ensemble of singers, chorus, and orchestra in Willy Decker's effective production.

A forgettable Hansel and Gretel is the worst offence of Antony McDonald’s leaden staging which returns to Covent Garden. 

Sir Stephen Hough launches the Proms' Rachmaninov celebrations with a winning rendition of the composer's First Piano Concerto. 

An excellent singing cast combine with Bruno Ravella's sensitive direction and brilliant orchestral playing to bring to life Strauss' heady mix of farce and high art.

Thrills and disappointment in equal measure in mixed performances of two core repertory works under Mark Wigglesworth at the Lighthouse, Poole. 

Mark Wigglesworth conducts vivid Elgar with the BBC Philharmonic in Manchester's Bridgewater Hall.

Louisa Muller returns to revive her 2019 production, preserving the ambiguity – did the Governess see these things or imagine them? 

The BBC Philharmonic and Mark Wigglesworth present moving accounts of two symphonies, plus eloquent singing from Alessandro Fisher in the orchestral version of On Wenlock Edge.

This special concert saw the debut of the Proms Festival Orchestra, made up entirely from leading freelance musicians.

Czech tenor Petr Nekoranec adds luster to a performance attuned to troubled times.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

Opera North performed a semi-staged and shortened Fidelio with a committed group of soloists, chorus and orchestra led by Mark Wiggelsworth.  With a pared Orchestra, the opera came across as a hymn of hope.

A sunlit performance of Brahms from Stephen Hough, with playful energy in Haydn from Mark Wigglesworth and the Bournemouth Symphony Orchestra.

A most idiosyncratic version of Rachmaninov's Second Piano Concerto from Khatia Buniatishvili along with a notable performance of Sibelius' Second Symphony from the RPO, touring the United States under Mark Wigglesworth. 

Jamie Barton's rich, mellifluous mezzo is ideal for singing Orfeo.

Vaughan Williams' Fifth Symphony is given a great performance by the Royal Philharmonic Orchestra at Cadogan Hall. 

Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.

Jake Heggie's spectacular vocal writing combine with Terence McNally's perfectly paced libretto to provide intense music drama which forces you to confront darkness.

Jake Heggie's story of redemption captivated the Teatro Real audience thanks to a solid cast and an effective production

The passionate darkness of Brahms' First Piano Concerto is contrasted with David Sawer's The Greatest Happiness Principle and Haydn's elegant and sophisticated Symphony no. 99.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.

In Janáček's searing excoriation of small town social mores, superb orchestra, singing and acting make this revival of David Alden's Jenůfa into an unmissable evening of opera.

The BBC’s biennial Young Musician competition reached its thrilling climax in an absorbing, nail-biting and inspirational final concert at London’s Barbican yesterday afternoon.

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera is – for him – a tame affair. 

Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.

From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention. 

A notable London première for William Mathias' finely crafted Violin Concerto, but a fierce, bruising account of Elgar's First Symphony disappoints at the BBC NOW's Prom. 

In a world that sees racial hatred and resulting violence across the world, Aldeburgh's stylish production re-establishes the meaning of Owen Wingrave for a new generation, performed by the new generation.

Michael Tippett died 14 years ago but his diverse canon has been relatively underrepresented since, the pacifist A Child of Our Time being perhaps the exception. In tonight’s Barbican outing, it was surprising but refreshing to see his Triple Concerto for violin, viola and cello, written in 1978–9, paired with Henk de Vlieger’s orchestral contraction of Wagner’s Ring cycle.

Mozart wrote the opera seria Mitridate at the age of fifteen. The Bayerische Staatsoper’s clever and strangely beautiful production positions it as the work of a child, full of rebellious teenagers and projected scenery seemingly drawn from a primary school art class.

For its 40th anniversary, the Hong Kong Arts Festival chose Mozart’s Così fan tutte as its main opera offering. Whatever you may call it – opera buffa, comedy of manners, or “dramma giocoso” – Mozart’s lovely music makes Così fan tutte wonderful entertainment. That’s what the Bavarian State Opera delivered on Sunday afternoon to commemorate this important milestone of the Festival.

It sounds almost like heresy to describe a Beethoven composition as “light”, but it would be appropriate for the Hong Kong Philharmonic Orchestra’s concert on Saturday. His Symphony No. 6 in F, Op. 68, Pastoral, was like soufflé to the crème brûlée of Elgar’s Cello Concerto and Wagner’s Tannhäuser overture.

Some musicians have criticised Mozart’s music for being facile, almost too perfect, some even claiming that it lacks emotional depth. However it is difficult to accept this when listening to Mozart performed by pianist Stephen Hough. It is music which sparkles and glistens much like the water in the harbour surrounding Sydney Opera House, or that is usually the case.

This was a recreation of a Proms concert that Benjamin Britten conducted in 1963, but with a contemporary twist.

The ENO’s production of Parsifal, which opened last night, is a revival of their 1999 staging, directed by Nikolaus Lehnhoff and conducted by Mark Wigglesworth. This is Wigglesworth's first Parsifal, and he's made a triumphant start. The fifteen minute prelude was like listening to a symphony all by itself, and I was grabbed from the very first note.

Dans une mise en scène sage de Peter Sellars, l'œuvre de Bellini, étrangement amputée de certains passages, ne remplit pas tout à fait ses promesses. Elle bénéficie cependant d'une belle distribution. 

La nariz nos ofrece la oportunidad de reflexionar en clave irónica sobre la creación en su contexto histórico, las vanguardias, la política, la sociedad y la filosofía.

Le public a réservé un accueil très chaleureux à ce gala lyrique, témoignant de la qualité du concert mais aussi de l'appétence des spectateurs pour le récital vocal.