Live, Video: Find classical music concert, opera, ballet and dance reviews | Fabiana Piccioli

Oliver Mears' new staging impresses and Jakub Hrůša's first season as Music Director excites interest. But the evening belongs to Anna Netrebko.

Superb Handelian singing and intense character acting light up Handel’s Semele, staged as a stark, uncompromising indictment of the rich and powerful. 

Paul Roberts' Quadrophenia – A Mod Ballet offers very memorable performances from its leading protagonists in a compelling piece of dance theatre.

Henry Neill gives a devastating performance as Sam in Trouble in Tahiti in The Royal Opera’s Bernstein double bill in the Linbury Theatre. 

John Fulljames directs a new production of Poul Ruders' uncompromising operatic take on Margaret Atwood’s celebrated novel. 

Handel's last oratorio is stylishly set in the composer’s era, with an all-star cast of Handelian singers who give their all.

It's been a long wait since Cardiff Singer 2015, but the Mongolian baritone gives an outstanding vocal portrayal of Verdi’s doomed jester at the Royal Opera House.

The second cast of the season for Oliver Mears' new Royal Opera production augments the intelligent staging with superb singing and acting.

Oliver Mears’ first production since becoming Director of Opera also heralds the start of a new Royal Opera season, with a full house finally returning after the long Covid hiatus.

Dance of a truly gripping and magical quality as Sidi Larbi Cherkaoui’s compellingly beautiful work is translated for the screen. 

Barry goes for out-weirding Carroll at a fast and furious pace. There's plenty of fun and it's beautifully staged – but is that enough?

Director Oliver Mears turns Scottish Opera’s Eugene Onegin into a memory play, with fine singing from a strong cast starring Natalya Romaniw as a thrilling Tatyana.  

Unlocking a fascinating new angle on the legend behind the classical ballet. 

L'opéra d’Amilcare Ponchielli ouvre de fort belle manière la saison athénienne, avec une mise en scène audacieuse et convaincante d'Oliver Mears et un beau plateau vocal.

En associant Joséphine Baker dans un solo de Germaine Acogny et Pina Bausch avec son mythique Sacre du printemps, le TCE rend hommage à son histoire et à deux grandes artistes.

Une fosse survoltée, un plateau vocal en demi-teinte, une mise en scène sanglante mais efficace : la production d'ouverture de la saison du centenaire de la maison lilloise convainc autant qu'elle déçoit.