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With its dazzle of exploding background (Hamill Industries) and breathtaking electronic music/soundscape from Sam Shepherd (aka Floating Points), Mere Mortals was truly an onslaught on the senses.

The music plays second fiddle to Australian circus company Circa in Yaron Lifschitz’s production of Gluck's great opera. 

One might comment that the choreography is a bit repetitive. On the other hand, another word for that might be hypnotic.

Powerful performances of a double bill at the Edinburgh International Festival by the Senegal based École des Sables.

At the Edinburgh Playhouse, choreographer Anne Teresa De Keersmaeker and her dance company Rosas present Rain, set to the music of minimalist composer Steve Reich, for the Edinburgh International Festival.

For the Edinburgh International Festival, María Pagés Company offers a new perspective on the character of Carmen, from the Bizet opera, in their production Yo, Carmen at the Edinburgh Playhouse.

Moscow City Ballet whisks Edinburgh into the dreamlike fairy tale of Tchaikovsky’s ballet Sleeping Beauty for a magical evening that enchants throughout, from Once Upon a Time to Happily Ever After.

Philip Glass’ ability to draw an audience of massively varied age groups is impressive. The event in question, which ran for two nights, certainly addressed the Edinburgh International Festival 2013’s theme of how artists engage with technology.

Coincidence can add resonance to timing. The day after enjoying BBC Radio 3’s Free Thinking discussion about the relevance and future of live classical music, I found myself at just the sort of event that could have informed the debate.