Live, Video: Find classical music concert, opera, ballet and dance reviews | James Egglestone

After its Bendigo Ring, Melbourne Opera brings off another artistic coup with a fabulous performance of Die Meistersinger von Nürnberg in Melbourne's splendid Royal Exhibition Building. 

Melbourne Opera's Walküre outdoes expectations, with really splendid singing and all-round performances, led by Lee Abrahmsen's Sieglinde. 

A strong opener to Melbourne Opera's all-Australian complete Ring, the first to be performed outside a state capital, in the regional Victorian city of Bendigo.

Melbourne Opera has produced a critically and popularly successful Das Rheingold, which bodes well for the planned development of a full Ring cycle over the next four years.

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

The revival of Neil Armfield's Melbourne Ring is relaunched with a successful Rheingold, sensitively conducted by Pietari Inkinen, with an especially fine performance from Warwick Fyfe as Alberich.

Bruno Ravella’s revival of David McVicar’s production of Faust, doing the rounds of Australia’s major opera companies, is currently inspiring Adelaidians with masterful performances by State Opera of South Australia.

On Harry Kupfer's dramatic set, strong performances by Simon O'Neill (Otello), Lianna Haroutounian (Desdemona) and especially Claudio Sgura (Iago) make Opera Australia's Otello a memorable revival.

Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.

There is nowhere to hide in Madama Butterfly. It is a well-known opera, contains very little in terms of stage action and changing scenery, is intensely lyrical in its vocal writing, and its orchestral writing is exposed. None of these factors bothered Opera Australia in their latest production, which was superb from beginning to end in every respect.

The concert to open the Sydney Symphony Orchestra's 80th Anniversary Series was very much one of contrasts. With the promise of Beethoven's Ninth Symphony, the season seemed to be opening in celebratory style. However, the entire first half was devoted to Richard Strauss' Metamorphosen, a piece which is a far cry from the triumphant finale of the Beethoven.