Live, Video: Find classical music concert, opera, ballet and dance reviews | Andrea Molino

In her first work for the Covent Garden main stage, based on the life of Jacqueline du Pré, choreographer Cathy Marston explores the profound bond between musician and instrument.

Elin Rombo shines in a co-production of King Roger with the Royal Swedish Opera and Teatr Wielki, in Warsaw

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

Turco inspired many a great opera director in the past; understandably, as it offers plenty of splendid comic situations. Simon Phillips' hilarious 2014 production is revived by Opera Australia.

Kosky’s The Nose hits Sydney, sweeping the audience along with hallucinogenic energy. Led by the outstanding Martin Winkler and John Tomlinson, singers and musicians deliver a wild evening's entertainment.

It's the libretto's equivocation that has denied King Roger the frequency of performance that its music deserves.

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.

A well-worked revival of Elijah Moshinsky's production of Rossini's Barber of Seville offers gales of laughter and vocal delights at the Sydney Opera House, with starring roles for Paolo Bordogna, Anna Dowsley and Warwick Fyfe

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.

The aftermath of an unfortunate tug of war between love and lust entwined in a city gripped by enemy occupation, Tosca’s story digs deep into the human heart. 

Opera Australia's laugh-out-loud production of Il Turco in Italia (“The Turk in Italy”) by Rossini at the Sydney Opera House combines vocal excellence and strong characterisation.

“I would ask what the management’s drama has in common with mine. The title? No. The poet? No. The period? No. The place? No. The characters? No.” This excerpt from Verdi’s legal proceedings against the management of San Carlo, who were trying to foist changes on Un Ballo in Maschera, came vividly to my mind last night at Sydney Opera House.

La toute nouvelle production de Carmen proposée au Théâtre du Capitole relève d’un subtil mélange d‘innovation et de tradition.