Find classical music concert, opera, ballet and dance reviews

Three of Kenneth MacMillan's first five works are once more wholly, or partially, revived in this outstanding and purposeful debut for the Viviana Durante Company  

A triumphant night for the CBSO, Harish Shankar and Boris Giltburg, with the mighty Saint-Saëns’ “Organ Symphony” and an inspired performance of Prokofiev’s Piano Concerto no. 3.

Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operat

Pianist Alice Sara Ott and the Dresden Philharmonic at the Cologne Philharmonic

Chloë Hanslip and Danny Driver were in tune with each other in every way in this fascinating and entertaining programme inspired by Marcel Proust.

An exemplary cast, an opulent orchestra and unforgettable images in Arnold Schoenberg’s Gurrelieder.

A night to remember in Antwerp as Salonen and the Philharmonia demonstrated once again that, in the right hands, familiar repertory can still prove compelling and even surprising.

In a memorable evening, Jurowski and the LPO presented entirely convincing accounts.

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

Three works of different character were given strong, largely persuasive readings by this acclaimed Piano Trio, and impressed with their assurance and commitment.

Would Haydn be the perfect dinner party guest? Witty banter and joyful exchanges characterise the three quartets given at Wigmore Hall as part of its Haydn series.

A wonderful ful-filled caper by the Irish National Opera of Mozart's The Marriage of Figaro with Erraught as Susanna and Miskelly as Cherubino really impressing. 

Maxim Vengerov and Polina Osetinskaya’s marathon of Brahms sonatas showed off the composer at his most lyrical and dramatic. 

Pavel Kolesnikov was at the heart and soul of a disappointing concert by the touring Czech orchestra.

Despite an impressive Elgar concerto with Müller-Schott, it was in the Sibelius symphony that Mälkki fell short. 

The forces of Theater Aachen impress in a suitably harrowing and searing production of Poulenc's Dialogues des Carmèlites.

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

In the future features exciting works by Juanjo Arques and Hans van Manen, and is the most exciting programme by the Junior Company so far.

The use in the score of ancient musical instruments is what differentiates this work: pifferi, a lute, a “viola pomposa” give this work a distinctive flavour.

A random assortment of disassociated ballets performed with variable success - from the sublime to the nondescript. 

Ivor Bolton and David McVicar have teamed up to create an unapologetically Brittenian Gloriana, with Anna Caterina Antonacci at the top of a great cast

Jonathan Bloxham steps in for a presumably unwell Mirga Gražinytė-Tyla with the CBSO in Cardiff. 

Ceresa’s flamboyant production from the Festival della Valle d’Itria is revived in Venice with a strong cast under the baton of Diego Fasolis.

Two monumental works by Rzewski and Mahler performed with intensity, drama and authority by Igor Levit in a concert celebrating Frederic Rzewski's 80th birthday.

Breezy Ravel from Steven Osborne and a clear warning about the dangers of drug-taking from the BBCSSO at Sage Gateshead.

Members of the GöteborgsOperans dance company, along with members of choreographer Sidu Larbi Cherkaoui’s own Eastman ensemble, recently danced a joint venture of an extraordinary kind in Winterthur. 

In Minneapolis, Markus Stenz and Louis Lortie present time-honored Austro-German symphonic masterpieces in committed and compelling performances.

International duo give immaculate recital of Beethoven, Schubert, Tchaikovsky and Rachmaninov songs.

Yuja Wang brings brilliance to Prokofiev at the Philharmonie, but Petrenko's conducting of rarities by Dukas and Schmidt also prove richly rewarding.

The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.

Forsythe’s choreography allows ENB's male corps to display their virtuoso skill in its mixed programme at Sadler's Wells.

Richard Egarr conducts a pair of Haydn's London Symphonies and turns soloist in a piano concerto by Dussek.

Glistening performances by the London Philharmonic Orchestra and combined forces under Thomas Adès bring to life Stravinsky’s Perséphone, with fiery premières of works by Adès himself and Gerald Barry.

Gaetano Donizetti’s Maria Stuarda is perhaps most famous for a single and highly emotional scene in which two monarchs engage in a venomous confrontation. One is doomed to die. 

Anna Devin's Cleopatra moved with complete conviction for scheming minx to mature woman in love.

C minor and C major are at the centre of Masaaki Suzuki's Haydn and Beethoven programme with the Sydney Symphony. 

At Carnegie Hall Jean-Yves Thibaudet successfully brought forward the mercurial character of Bernstein's music, while Andris Nelsons highlighted details in Shostakovich. 

Sir Roger Norrington's all-Mozart feast was a joyous evening dedicated solely to playing as the composer and his audience would have recognised it. His affable introduction and the OAE's superb playing made a splendid evening.

Mixed performances from Poole but with an unforgettable Berlioz Symphonie fantastique that was both illuminating and electrifying.

Celebrating the 150th anniversary of its first performance, Paavo Järvi directs the Deutsche Kammerphilharmonie Bremen in Brahms' Requiem, with the Latvian State Choir and two outstanding soloists.

In a selection of modern and balletic works spanning several decades, the Australian Ballet pays tribute to one of Australia's best-loved choreographers.

It’s easy to imagine watching with a candy cane or mulled wine in hand. The Moscow Ballet captures The Nutcracker's festive vivacity and beauty in equal amounts.

Daniel Barenboim's absence may have confounded the all-Debussy programme but it left the Aix audience with a beautifully balanced recital.

Bracing and emotionally direct performances from the Australian Chamber Orchestra and Nicole Car, in a carefully-planned programme.

A performance that sacrificed a degree of Gallic fragrance in its pursuit of precision.

Alessandro Talevi's gorgeous staging recreates Tosca as it might have been seen at its 1900 première. 

Scotch snap aplenty in evening of “Scottish Fantasy” with Hong Kong Philharmonic. 

Conceptually, the programme of descending and rising fourths offered a real treat: in practice, the musicians' skill was in danger of being lost as they attempted to recover from their opening gimmickry.

It was worth the price of admission just to see the ebullient revival of Geoffrey Holder’s Dougla.

The National Theater takes a bold step forward with a smart realization of a literary grotesquerie.