Live, Video: Find classical music concert, opera, ballet and dance reviews | Patrick Terry

Sir David Pountney directs a satirical take on dictatorship and the climate crisis inventively set to the music of Purcell. 

Director Adele Thomas can do no wrong, sustaining her extraordinary run of fizz with this unlikely concatenation of four Handel cantatas at Stone Nest.

Some exceptional singing intermittently enlivens Daniel Slater's production which, dramatically and emotionally, takes time to ignite.   

Alcina also disappoints as a showcase for sustainable opera, despite that being Opera North’s pledge for this production. 

The evening’s most unbuttoned applause was reserved for two native anglophone artists, countertenor Patrick Terry and bass-baritone Michael Mofidian.

Brett Dean's operatic reworking of Shakespeare's Hamlet receives its German premiere in a powerful new staging by the work's librettist Matthew Jocelyn.

Almost 30 years since its last run, Gerald Barry’s The Intelligence Park makes a boisterous return to the stage. 

Robert Carsen's riotous production of Rinaldo returns to the Sussex Downs, a schoolboy fantasy colliding crusading knights with St Trinian's bad girls. 

The young singers spin any raw material into opera gold, sending the audience home as uplifted as if they’d just glugged a bellyful of Pimm’s.

A post-mortem fantasy that’s as compelling as it is confusing.

Visual eye candy, excellent singing and superb Handelian playing by Laurence Cummings and the London Handel Orchestra are marred by poor diction and limited acting expressivity.

Dove's infectious score nods to Copland, Bernstein and Britten and its tongue-twisting ensembles and high-wire vocal writing were wonderfully performed. 

In Shoreditch, the Royal Academy of Music showed off some superb singing in a chilling exploration of tyranny and unrestrained power.

The cast of young professionals seemed entirely at ease in Midsummer Night’s sometimes abstruse musico-mythical world, and made their surroundings work for them.

Ein Werk, das sowohl traditionell als auch innovativ, elegant und leidenschaftlich ist: Brett Deans Hamlet, dessen gewaltige Aufgaben an Szene und Musik an der Staatsoper in München überzeugend gelöst wurden.