After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner.
The sound in Schumann's “Rhenish” was satisfyingly dense, rich and passionate, and the horns once more made great sailing of all their magnificent solos.
Mozart’s early youthful 29th Symphony felt rather misplaced in this otherwise solemn concert from Rafael Payare, Ulster Orchestra and the Belfast Philharmonic Choir.
The 20 strong ensemble allies African choral singing of the highest calibre to movement, percussion and drama to give a potent reading of a World War I incident that should not be forgotten.
Staging the story of the Italian political figure Rienzi as that of a dictator in 20th-century Germany was an inspired idea. This revival was a rare occasion to experience Wagner's early opera.
Despite the uneven performances, the evening offered a painful reminder: the future of Cunningham's opus is fragile and delicate. With his own company disbanded, his future is in the hands of dancers who are not trained in his technique and did not have the good fortune of working directly with the great choreographer.
The BBC Symphony Orchestra and its conductor laureate Sir Andrew Davis brought three seemingly disparate orchestral works, united by their songfulness and ravishing sounds, vividly to life.
Short of the three lead stars of its opening, the Royal Opera's La forza del destino remains a thrilling evening, powered by Christof Loy's interesting staging and virile singing from Christopher Maltman.
Turkish-Italian director Ferzan Ozpetek stages this new production of Madama Butterfly at Teatro San Carlo in Naples with a fine, penetrating approach.
There's little to like in Andrea Moses' production, but a fine cast and glorious playing and conducting make for an enthralling performance of Wagner's grand comedy.
The musicians of MusicAeterna were impassioned, engaged and energised into a single force in this performance of Verdi's Requiem at the Aix Easter Festival.
A concert repertoire played by the fine Bavarian Radio Symphony Orchestra, Bernard Haitink conducting, was a promising alliance for the last concert of this year’s Easter festival in Lucerne.
Giancarlo Andretta conducts the Netherlands Radio Philharmonic and Choir and a fine team of soloists led by Tatiana Serjan's Abigaille into an exhilarating Nabucco.
James Ehnes was an ideal soloist in Walton's Violin Concerto, well partnered by John Wilson and the BBC Philharmonic, withatmospheric Bax and a powerful Vaughan Williams 4.
A very fine performance, notable for the musicality which imbued each dancer’s presence and the excellent acting which kept the audience glued to the story.
A projection of green sky above shadowy mountains hovered behind their duet, and the curved bodies of the other dancers moved, barely visible, in the darkness of downstage.
A terrific cast, led by soprano Celine Byrne and conducted by Patrik Ringborg deliver a compelling and thrilling performance of Korngold's Die tote Stadt.
Salonen and the Los Angeles Philharmonic, arguably the conductor and orchestra par excellence of Stravinsky performance, debuts the first of their three-concert series dedicated to the former Angeleno.
The immigrant experience was examined in the New York premiere of Du Yun’s impressive and expansive Where We Lost Our Shadows. Sadly, the rest of the program wasn’t entirely on message.
The Royal Liverpool Philharmonic Orchestra present a programme of Rossini, Paganini and Dvořák with Michele Mariotti conducting, but it’s Ray Chen who steals the show.
Tired of looking at the same wallpaper all the time? The London Philharmonic and their conductor Edward Gardner, together with soloist Stephen Hough, offer one way to see (part of) the world.
