Find classical music concert, opera, ballet and dance reviews | Zach Borichevsky

The combination of a strong, spirited cast and a first-rate orchestral performance led by Daniele Callegari rendered the opera a moving experience in spite of drab staging and latent, unexplored tensions.

Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.

Two fascinating casts make Peter Konwitschny's stripped-down Traviata a must-see artistic event in Seattle.

Anna Netrebko scored an unmitigated success in her first Manon Lescaut at the Met, almost obliterating director Richard Eyre’s and designer Rob Howell’s misconceived production.

Samuel Barber's Vanessa, with a libretto by Gian Carlo Menotti, is rarely staged, but Santa Fe makes a tremendous case for the opera. 

Despite some fine singing, Benedict Andrew's production of La bohème for English National Opera is devoid of heart. 

A work crucial to the development and appreciation of opera as a relevant modern art form premièred on the East Coast to well-deserved acclaim at a legendary Philadelphia venue. From the first note out of the pit orchestra to the final strains of the last act, Silent Night, presented by Opera Philadelphia at the Academy of Music, was a tour de force – from conception to execution.

In his program notes for Pelléas et Mélisande, director K. James McDowell refers to the only opera Claude Debussy ever completed as "a towering masterpiece in the operatic repertoire.

Samedi 19 juillet, Santtu-Matias Rouvali dirigeait à l’Opéra Berlioz de Montpellier un programme de musique russe interprété par l’Orchestre Philharmonique et le Chœur de Radio France, rejoints pour une séquence violon par Renaud Capuçon. Un répertoire dont l’orchestre et les chanteurs ont su mettre en valeur le lyrisme et la solennité.