Live, Video: Find classical music concert, opera, ballet and dance reviews | Leslie Travers

Ruth Knight untangles Handel's Rodelinda, directing a new staging at Garsington which features a feast of fine singing. 

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

James Hurley directs a new production of Puccini's neglected opera to close Opera North's Green Season. 

Sir David Pountney directs a satirical take on dictatorship and the climate crisis inventively set to the music of Purcell. 

Upcycled and recycled, a green production of Verdi's final opera is directed by Olivia Fuchs. 

The collaboration of Opera North and South Asian Arts is a thrilling celebration of renaissance opera and Indian classical music.

Janáček’s satirical opera The Excursions of Mr Brouček may not be among his greatest dramatic works, yet it earns its place in the limelight for its musical, visual and dramatic wit at Grange Park Opera.

Opera North's revival of Mozart's The Marriage of Figaro directed by Jo Davies and conducted by Antony Hermus at Leeds Grand Theatre is still full of comic exuberance.

In 1724, Handel's Giulio Cesare was a vehicle for star singers Senesino and Francesca Cuzzoni. Maria Sanner and Lucie Chartin step into their shoes with great success for this Opera North revival. 

Virginie Verrez acted not with fire and ice but with gallic insouciance.

Verdi's most political of operas brilliantly highlights the juxtaposition of personal desires and political imperatives

I puritani returns to Barcelona’s Liceu with Annilese Miskimmon’s production. Javier Camerena and Pretty Yende lead the inauguration of the season with a fine example of romantic bel canto.

Giles Havergal directs and Martin André conducts an energetic production of Franz Léhar's The Merry Widow at the Grand Theatre, Leeds.

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.

Opera North's production of Benjamin Britten's Billy Budd, directed by Orpha Phelan, is a tense psychological drama which puts the emphasis on issues of democracy and attitudes to dictatorship. 

Strong vocal and orchestral performances and a tour-de-force staging of Act II light up Grange Park's production of Verdi's political thriller of the dark days of the Spanish inquisition.

So many things are right about Mark Simpson's new opera Pleasure, receiving its London debut at the Lyric Hammersmith.

Rolf Wallin and Mark Ravenhill’s new opera Elysium tackles fundamental questions about humanity itself, and largely succeeds. Despite slightly uneven music and libretto, the performers shine in this sci-fi opera.

Annilese Miskimmon's production of I puritani mixes Royalists with Loyalists - but is musically successful under Carlo Rizzi's baton.

In director Daniel Slater’s production at Santa Fe Opera this summer, Freud is God, and a biblical saga of lust, incest and murder is presented through a Viennese, turn-of-the-century lens. 

A gleeful production of The Marriage of Figaro from Opera North, which makes it hard to imagine any dark side at all to the comedy. 

Britten's score achieves his usual kaleidoscope of different colours, played marvellously by the City of London Sinfonia under Steuart Bedford. Annilese Miskimmon's production yields an intense dose of psycho-dramatic tension.

La mise en scène de Bruno Ravella comme la direction musicale de Laurent Campellone et la distribution ne parviennent à saisir que de manière intermittent le ton singulier de l'ouvrage de Massenet.

David Pountneys Meistersinger enttäuschen mit einer an Geschichtsverständnis mangelnden und trägen Inszenierung, die aber immerhin stimmliche Glanzmomente liefert.

L’Opéra Orchestre National Montpellier rouvre ses portes au public le 20 mai pour une production de Werther singulière, avec un orchestre investissant tout le parterre de l'Opéra Comédie !

Edgaras Montvidas et Stéphanie d’Oustrac rayonnent dans les premiers rôles, entourés de seconds tout à fait à la hauteur.

Genève propose le Baron Tzigane de Johann Strauss pour fêter la fin d’année. Malheureusement la fête est plombée par une mise en scène en berne et un plateau de solistes assez déséquilibré. Reste le plaisir de la musique servie par un Orchestre de la Suisse Romande qui brille sous l’impulsion de Stefan Blunier.