An evening of unfailing interest that flagged up the wonders of both David Owen Norris and Lawrence Power in variable performances of classic scores by Vaughan Williams.
Abstract ballet always asks the question of meaning, and Alonzo King Lines Ballet is one of the few companies that answers that question with existential exactness.
Vladimir Jurowski led the LPO in a thoughtful and though-provoking concert that paired Beethoven's only full-length ballet, the joyous and energetic Die Geschöpfe des Prometheus with Stravinsky's cool and melancholy Orpheus.
As City Ballet grapples with lawsuits and lurid accusations, and the loss of an unprecendented number of male principals, new works by Kyle Abraham, Gianna Reisen, and Matthew Neenan stoke inspired performances from the dancers.
Bringing their residency to a close, Anderson and Roe perform Mozart’s concerto for two pianos. Anu Tali makes her RLPO debut with Bernstein, Tubin and Sibelius.
This weekend’s performance of the Symphony no. 2 in C minor had innumerable beautifully detailed moments, with two excellent soloists and an immaculately prepared chorus.
Ilya Gringolts brings his brand of unspectacular virtuosity to the ACO's latest programme, with the Paganini Violin Concerto no. 1 and Bartók's Divertimento clear highlights.
Les Grands Ballets Canadiens has brought a brand new piece to the stage; a neo-classical adaptation of D.H. Lawrence’s controversial novel, Lady Chatterley’s Lover.
The audience for The Met's first performance of La fanciulla del West this season arrived loaded for bear. Not only were they disappointed that Jonas Kaufmann was not singing (he's slated for shows starting 17th October), but their disappointment was heightened by the fact that tenor Yusif Eyvazov was singing.
It was especially effective to hear the line “One ever hangs where shelled roads part” with the vast hanging crucifix with its portrait of Christ dominating the scene behind.
For three decades, Acosta has given his audiences performances of pure pleasure. As someone who had to work against the odds to reach the top, he became one of those rare classical ballet dancers whose brilliance and incredible technical achievements, wrapped up with convincing characterisation and humble charisma, have set stages alight around the world.
Traditionally, Italy's most unforgiving loggionisti are reputed to reside at Parma's Teatro Regio. Thankfully for the cast, they appear to be a dying breed.
Since their creation in 2010, NIO has brought unconventional opera productions to Northern Ireland. Their Rigoletto is bold, emotional and engaging with a stellar cast of local and international talent.
Michael Volle and Klaus Florian Vogt demonstrate that they are indeed master singers in Munich, despite adversity, in a revival of David Bösch's contemporary production.
Robert Carsen's Eugene Onegin was binned by the Met but works wonderfully in its revival by the Canadian Opera Company COC with high class singing and acting from a young, engaging cast.
Nuremberg's opera house launches a new directorial era with an impressive staging of Prokofiev's adaptation of Tolstoy's great novel that incapsulates 200 years of Russian history.
In the second of the two concerts this week to open the Philharmonia's season, Salonen excels in the Schoenberg, while leaving space for debate in the Bruckner.
In Bérénice, given its world première at the Opéra Garnier, composer Michael Jarrell revisits Racine's refined tragedy with the help of the inspired voices of Barbara Hannigan and Bo Skovhus.
Verdi's fifth opera can be considered a blueprint for Trovatore and deserves a more regular place in the repertoire, but it needs more sincere advocacy than Bechtolf is prepared to grant.
Stuart Skelton and Sarah Connolly were the stars of the evening, lifting the performance to a new level in what Leonard Bernstein called Mahler’s “greatest symphony”.
In a program including both modernist and neoclassical works, Michael Tilson Thomas and the SFO emphasized the common traits characterizing Stravinsky's entire ouevre.
Voltaire and Bernstein's wilful political incorrectness make Candide a challenge to behold, but the Sydney Philharmonia meets them in a concert performance in the opera house.
Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.
Franz Welser-Möst selected a Viennese-inspired program for The Cleveland Orchestra’s annual gala, with works of Strauss (both Richard and Johann II) and Ravel following a Mozart piano concerto.
Viktoria Mullova is dazzling in Sibelius' Violin Concerto but the audience of Sage Gateshead fail to make their mark when asked to sing along to Finlandia.
