Find classical music concert, opera, ballet and dance reviews | Marie-Jeanne Lecca

It’s a small miracle that the production has been recreated so well in such a short time frame.

Musically, WNO gets it right. Straightforward brilliance is the order of the day, and plenty of it.

A standout performance from Stephen Milling complements all-round excellence of cast to provide a satisfying end to the Covent Garden Ring.

Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.

We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.

Antonio Pappano and the Royal Opera Orchestra get the Ring cycle off to a blazing start; unusually, it's Lise Davidsen and the female cast who take the vocal honours.

WNO make a compelling case for Prokofiev's gargantuan War and Peace.

The use in the score of ancient musical instruments is what differentiates this work: pifferi, a lute, a “viola pomposa” give this work a distinctive flavour.

Stellar voices and orcheatra and some inspired staging choices elevate an otherwise heavy-handed production of Pelléas et Mélisande from the WNO at the Hong Kong Arts Festival.

David Pountney’s 2014 staging was revived in Naples with good singing and empathetic conducting.

When the entire plot is triggered by a freak accident, you can't blame director David Pountney for making Fate itself one of the key characters.  

David Pountney's new production of Die Walküre for the Lyric Opera of Chicago incisively charts the tectonic shift of control over the future from Wotan to Brünnhilde.

That both the lead and a second key role were ill and couldn’t sing did not bode well, yet this performance of Verdi’s Un Ballo in Maschera shook up the house nonetheless.

In spite of some questionable staging, Lyric Opera of Chicago opened its Ring cycle on a strong note with a stellar cast, notably featuring Eric Owens’ role debut as Wotan.

A striking staging of Rossini's Guillaume Tell at the Grand Théâtre in Geneva: well cast, beautifully sung and impeccably choreographed.

Mélisande as Lulu in David Pountney's unfulfilling production of Debussy’s Pelléas et Mélisande at Welsh National Opera. 

David Pountney's production of Mieczysław Weinberg's opera The Passenger travels to Chicago. 

Zurich’s Opera House takes on Die Frau ohne Schatten, one of Richard Strauss’ most convoluted and technically demanding works. 

A colour-coded Mosè in Egitto uses the paintings of Marc Chagall to inspire the costumes for the Jews and the Egyptians in this production of a Rossinian rarity.

Welsh National Opera's new production of Rossini's William Tell shows off orchestra and chorus to their full under Carlo Rizzi's baton

Im Janáček’schen Familien- und Beziehungschaos glänzten Dirigent Ingo Metzmacher und das Orchester der Wiener Staatsoper.