Live, Video: Find classical music concert, opera, ballet and dance reviews | Simon Lim

The Canadian Opera Company’s season opening production is musically excellent, but the dated, dull production adds little. 

A concert performance of a middle period rarity is part of a slimmed down festival which transfers to an online format to audiences across the globe.

This is one of Michieletto's simplest stagings yet, the imagery used to a minimum to allow for focus on the psychological core.

La Fenice presents Rossini’s monumental farewell to Italy and to 18th-century tradition in Ligorio’s elegant new production with a superb cast.

The first staging of Bellini's Norma in Oslo in over a century is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show.

Mohammed Fairouz’s second opera, The New Prince, premiered in Amsterdam, is directed by Lotte de Beer as a colourful, dizzyingly fast-paced  revue.

Visually this production fully rendered the opera's atmosphere. The director was good at encompassing the private stories and emotions of the three main characters into a broader context, dominated by Fate.

“The very incarnation of vice” was how one critic described Célestine Galli-Marié’s Carmen at the opera’s 1875 Opéra Comique première. That description could equally be applied to Stéphanie d’Oustrac in Glyndebourne’s revival of David McVicar’s terrific production.

La nueva producción del Teatro Real, musicalmente brillante, se presenta como una lectura incómoda, además de por el contenido, por las formas, que radicalmente se oponen a reducir a Rigoletto a un mero entretenimiento.

Bei einer Inszenierung, die nicht für jeden aufgeht, bietet diese Produktion viel Freude für die Ohren.