Live, Video: Find classical music concert, opera, ballet and dance reviews | Jennifer Davis

The composer’s final opera is virtually impossible to stage comfortably, but Sir Mark Elder makes a convincing case for more regular outings of its beautiful music.

Netia Jones’ modern reimagining intrigues more than it convinces, but still makes a strong case for Dvořák’s dark fairy tale. 

Richard Jones directs a new production at Tokyo's New National Theatre which lucidly articulates the structure of Berg’s expressionist music.

This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.

David Alden's production is a vivid telling of Janáček's devastating village drama. With a terrific cast and a splendid performance from the pit, this revival is an unalloyed artistic success.

Jack Furness turns Faust into an Oppenheimer-type scientist in a powerful, well-sung staging in Dublin's Gaiety Theatre. 

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

Dvořák’s final opera gets a rare staging outside its Czech homeland, at Wexford – the festival where dead operas return to life.

A strong cast and a masterclass in Wagnerian conducting from Jakub Hrůša complement David Alden’s disturbing staging.

Kasper Holten's decade-old production begins to show its age, in a routine revival with undistinguished soloists.

Breastplates are back in vogue, but comedy horses and cheap production values undermine the first chapter in English National Opera's new Ring cycle. 

Dominic Cooke’s Magritte-inspired production returns to Wales Millennium Centre to keep the audience giggling. 

Designer/director Antony McDonald treads a perfectly weighted path between light and dark of the fairytale; conductor Sebastian Weigle cooks up a Wagnerian storm; Michaela Schuster steals the show. A treat.

David Alden’s new production for The Royal Opera, referencing fascist Germany, is drab, but there are musical compensations. 

Alessandro Talevi's production of Don Giovanni, conducted by Christoph Altstaedt, receives a welcome revival at the Grand Theatre, Leeds. 

The biggest stigma associated with opera in Ireland is not that it is an elitist art form, but that it is not “Irish”, and that it doesn’t belong to Irish culture, more of a recent import, like pasta, or avocado.

A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

An incredible musical performance - by pianists and singers - that is not well enough matched by the visual experience of cluttered creativity in which excellent dancers are often anonymous 

A disappointing staging for the Jette Parker Young Artists' annual showcase at the Royal Opera House. 

Francesco Meli asserts his credentials as one of the top tenors singing Manrico; David Bösch's staging lacks attention to detail.

Philip Venables' 4.48 Psychosis is the first musical adaptation of the eponymous play by Sarah Kane, which is the culmination of a three-year programme run jointly by the Royal Opera and Guildhall School of Music and Drama.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

A somewhat overly manic production of Luigi Rossi's version of the Orpheus tale, originally written for the French court in 1647, is lit up by some great singing and a show-stealing comic performance by Graeme Broadbent.

Ana Sokolović Svabda (Marriage) leaves six singers in search of an opera on Aix's Théâtre du Jeu de Paume stage. 

La mise en scène de Michael Thalheimer, la direction musicale de Mark Elder, le décor, les lumières, la distribution : tout concourt ici à produire une soirée prodigieuse.