Live, Video: Find classical music concert, opera, ballet and dance reviews | Julian Close

With an excellent cast and superb musicianship from the pit, Bruno Ravella's new production of Rossini's beloved comedy knocks it out of the park for Grange Park Opera.

Jo Davies’ 2016 staging is revived at the Theatre in the Woods, given a bold execution, led by a regal Elisabetta. 

A tiny stage and five musicians prove no obstacle to Irish National Opera’s lively, witty Bartered Bride, where sharp casting and clever direction turn modest means into genuine delight.

Michael Chioldi, Soraya Mafi and Bekhzod Davronov shine in Julien Chavez’ energetic production in Dublin’s Bord Gais Theatre. 

Who wouldn't relish the chance of seeing a Ring cycle at close quarters? Longborough's Die Walküre isn't perfect, but it consistently delivers on the story and on character interpretation.

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

Longborough's Ring Cycle reaches completion in the Cotswold's, effectively staged by Amy Lane. 

Northern Opera Group brings Gustav Holst's rarely-performed Sāvitri and At the Boar's Head to vibrant life as part of its Leeds Festival of Opera.

Outstanding singing from a beautifully chosen cast led by Miah Persson and Hanna Hipp. 

David Pountney's House of the Dead makes for high entertainment at Welsh National Opera.

Highly idiomatic and effective singing by Greer Grimsley, Denyce Graves and other cast members, coupled with inventive stagecraft wizardry, make the Minnesota Opera's first-ever Rheingold a memorable production.

Das Rheingold stages flawed American Ambitions in the first Ring Cycle in Washington DC. 

Saffron Opera Group's opening salvo bodes exceptionally well for their planned full cycle of concert performances of Wagner's Ring over the next two years. 

Just as we would often rather come out of a barber's with a haircut reasonably similar to the one with which we walked in, but just a bit smarter and tidier, sometimes it’s nice to see a well-known and much-loved opera done straight, and done well. 

35 years and many revivals after it was first seen, the late Joachim Herz’s version of Madam Butterfly (“Madama” spelt without the “a” here) is still going. For WNO’s themed series of “Free Spirits”, Caroline Chaney took on the revival director’s mantle. The result was a reliable production lacking in originality but not in warmth.