Live, Video: Find classical music concert, opera, ballet and dance reviews | Natalie Aroyan

Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

Wotan's predicaments provide Sydney's victory: Chief Conductor Simone Young has her musicians on some of their best form in recent years, with only a few question marks over an excellent concert performance.

The Armenian-Australian soprano steps in for an indisposed Ermonela Jaho in Rosetta Cucchi's staging of Cilea's verismo masterpiece. 

187 years after its Parisian debut, Halévy's La Juive receives its Australian premiere. A sterling cast under Carlo Montanaro reveals some unexpected beauties (and occasional longueurs) in this classic of French grand opéra.

A mixed-bag of an evening at the Sydney Opera House, with a production of Ernani imported from La Scala failing to solve the inherent challenges of the work, despite good performances from the cast.

Livermore updates the scene to the 1930s, but seems to be setting Mussolini's Italians against invading Germans. 

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.

Director John Bell's chosen associations for his Carmen with Strindberg's Dance of Death and Albee's Who's Afraid of Virginia Woolf underlined an emphasis upon the fated couple's joint knowledge that nothing they can do will turn the tsunami that's leading to their deaths.

The ever-popular La bohème returns in Gale Edwards' adaptation which features a change to the final months of the 1930s Weimar Republic as featured in the musical Cabaret.