Live, Video: Find classical music concert, opera, ballet and dance reviews | Michael Kraus

In Helsinki, Antony McDonald pairs Tchaikovsky’s Iolanta with a staged version of Sibelius’ tone poem Luonnotar, brilliantly voiced by soprano Silja Aalto.

A visually delightful revival of Barbe & Doucet's action-packed Zauberflöte at Glyndebourne, with strong vocal performances throughout. 

André Barbe and Renaud Doucet's Magic Flute is ideal entertainment for a fizz-filled summer night.

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

The Temple of Opera has opened its doors to operetta. For the first time the Teatro alla Scala is staging Johann Strauss' Die Fledermaus.

Hartmann's staging takes a bizarre twist in the end since so far the staging had followed the naïve story very faithfully without any weird implications.

Tim Albery's 2010 production of Tannhäuser, receiving its first revival at Covent Garden, begins with a stylish opening 20 minutes, but thereafter things become rather bland. 

In a new production of Wagner's Lohengrin, conductor Simone Young and stage director Andreas Homoki, along with an extraordinary cast, engineered a superb performance.

Glyndebourne’s annual away day from Lewes to the heaving metropolis is always a highlight of the Proms season, but this year’s visit was more hotly anticipated than usual. 

Wagnerians who are unfamiliar with the subtle humour of German humourist Loriot might sneer at the mere thought of paying to hear a version of the tetralogy that is cut by about 80% of the total score, but this was not the case with the regular Viennese Ring-goers who filled this performance. And judging from the applause, it was a worthwhile experience for them as well as for Wagner rookies.

Una noche de música, risas, champán y, sobre todo, excelente interpretación a cargo de Marc Minkowski y Les Musciens du Louvre.

Wenn Christian Thielemann an der Wiener Staatsoper dirigiert, strömt das Stammpublikum – zurecht! – ins Haus wie die Katholiken zur Papstmesse.

Marc Minkowski dirige d'une main de maître l'opérette de Strauss, dans une version mise en espace parfois frustrante mais portée par une distribution idéale.

Vor allem das großartige Sänger*innen-Ensemble berührt zutiefst in Magdalena Fuchsbergers Neuinszenierung am Ring.

La production genevoise est d’abord un grand moment de théâtre, auquel s'ajoutent la direction musicale convaincante de Tomáš Hanus et une belle distribution, emmenée par une Corinne Winters impeccable.

Romantisch und ergreifend: Petrenko und die Berliner Philharmoniker rühren mit Tschaikowskys Jolanthe zu Tränen.

Le cinéaste hongrois Kornél Mundruczó propose une vision originale et puissamment dramatique du chef-d'œuvre de Janáček, portée par une Rachel Harnisch incandescente. 

Entre l'imaginaire de Pedro Calderon, celui de Lewis Caroll ou encore de Jonathan Swift, cette nouvelle production signée Stefan Herheim invite à la réflexion sur la frontière entre folie et sommeil, illusion et réalité, amour et raison.

Wild, grob und grausam - bei der diesjährigen Eröffnung der Pfingstfestspiele wird Glucks Iphigénie en Tauride in eine kalte Gegenwart versetzt und ein ungeschönter Blick auf menschliche Abgründe geworfen. Umso strahlender tritt dabei einmal wieder die musikalische Qualität der Festspiele und allen voran Cecilia Bartoli in den Vordergrund.