Setting aside a disappointing first movement of the Eroica, the Berlin Staatskapelle under Barenboim deliver another polished and persuasive performance in their third Sydney concert.
A clever production enlivens a rare, early opera at the Donizetti Opera Festival. A fantastic cast and a great period orchestra seal a resounding success under the lead of Alessandro De Marchi.
Some 15 minutes long, in a slow-fast-slow form, Le Tombeau de Napoléon wraps a taxing solo part for tenor trombone in a dramatically compelling and sonically thrilling orchestral canvas.
Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.
Fine orchestral sound and outstanding solo singing from Sarah Connolly and Steve Davislim aren't enough to compensate for poor balance and timing in Beethoven's great choral work.
In an all Tchaikovsky programme, Ray Chen delivers a cracking account of the Violin Concerto while Stutzmann brings out all the drama of his Fifth Symphony.
Dvořák’s Slavonic Dances were a treat and Simon Trpčeski was characteristically glistening in Shostakovich, but the surprise package turned out to be a rarely heard work by Kabeláč.
Audio and film permeate Marriott's new work for the Royal Ballet, recounting the tale of Ted Feltham, a British Soldier uuring World War 1, and his fiancée, Florence Billington.
Mark Elder and the LPO's performance of Puccini's Le Willis proved interesting and frustrating in equal measure, rescued by a star performance from Ermonela Jaho.
Minimal yet expressive, archaic mythology collides with the contemporary world in Kat Válastur’s Stellar Fauna at the HAU Hebel am Ufer highlighting the things upon which our survival depends.
Grigorian returns to Stockholm in a wonderful performance of Madama Butterfly, with young, upcoming tenor Migran Agadzhanyan as Pinkerton in a 2014 production by Kirsten Harms.
Deeply moving and often terrifyingly dark, Gergiev and the Mariinsky took us on a devastating ride towards the abyss which eventually left me grabbing for a rope.
The second performance of the Met's Pearl Fishers saw one of the leads withdraw mid-performance again. A welcome performance by young baritone Alexander Birch Elliott could not rescue the evening.
Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers
Robin Ticciati and the DSO bring a strong sense of purpose to Rachmaninov's Second Symphony and Christian Tetzlaff explores the extremes of Beethoven's Violin Concerto.
The Ulster Orchestra present a programme of classical elegance and sunshine; Rustioni is joined by Francesca Dego in an exceptionally sophisticated performance of Mozart’s Violin Concerto no. 3.
McFall’s Chamber’s bittersweet programme of Polish music referenced Tango in Warsaw, exploring the avant-garde of Grażyna Bacewicz and early and late Penderecki
The small, thirty-strong choir was the true star of the evening rendering Haydn’s contrapuntal mastery with tremendous conviction and marvelous cohesiveness.
The Trøndelag Teater presents an opéra comique by André Grétry in a brilliant production by Julien Lubek and Cécile Roussat, under the inspired musical direction of Martin Wåhlberg.