En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Nicholas Lester

Così fan tutte is a fun-filled night at the State Opera of South Australia, well cast and continuously entertaining without sacrificing musical or vocal values. 

Scottish Opera’s stylish revival is very finely sung with Hye-Youn Lee as Violetta, Ji-Min Park as Alfredo and Philip Rhodes as Germont. 

WNO finally emerges from the pandemic with a performance of The Barber of Seville full of emotion and elation.

In a new production at The Grange Festival, Elin Pritchard's performance of Puccini's titular heroine in this 1940s-era update is a tour de force.

Comic opera can fall flat, but if The Grange Festival's new production of Verdi's final masterpiece is a total delight, with a strong concept and a strong cast. This is country-house opera at its best.

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

Jonathan Miller's production of La bohème is revived by ENO and features an important house debut. 

It was hard not to be drawn in by the romance and tragedy as presented by such a sincere, credible and vocally talented young cast and a conductor with such strong identification with the idiom.

It's not easy to imagine a freezing Parisian attic when you're in the middle of the rolling Dorset countryside in a baking summer, but Dorset Opera's excellent production of Puccini's La bohème is atmospheric enough to do so.

As the two sisters, Eleanor Dennis and Kitty Whately ideally complemented and blended with each other.  

The cavernous Mayflower pit eats singers for breakfast and only Natalya Romaniw’s full-blooded Tatyana escaped its jaws unmarked

Dorset Opera's second opera of their season saw a fiendishly good performance from Mark S Doss as Méphistophélès supported by a strong cast in Christopher Cowell's economical production.

Jennifer France and Nicholas Lester are a compelling double act in Rossini’s sparkling comedy La scala di seta from Scottish Opera in Concert.

Scottish Opera’s production of Philip Glass and Christopher Hampton's The Trial says less about Kafka’s vision of an absurd world and more about the absurdity of contemporary operatic conventions.

Opera Holland Park's traditionally staged Cenerentola has plenty of sparkle and a fine cast of talented singers.

Welsh National Opera's new production of The Barber of Seville disappoints in an uncoordinated performance in Bristol. 

Ailyn Bozok's minimlaist production of Delibes' Lakmé at Opera Holland Park contains much tender beauty and is carried by fine musical performances. 

The charm-ometer was cranked firmly to ‘high’ yesterday evening for the opening opera of this year’s Buxton Festival with a performance of The Jacobin, an opera close to Dvořák’s heart. 

Unlike its première, disaster is averted in Opera Holland Park's Il barbiere di Siviglia, where a solidly traditional production is lit up by some splendid vocal performances. 

Scottish Opera's Don Pasquale is a well sung and fun-filled delight to lift the winter spirits.

Eugene Onegin is one of the greatest of all operas, both musically and dramatically: Tchaikovsky's temperament and compositional proclivities find in the libretto the perfect characters and subject matter such that his particular genius is allowed to flourish and bloom, more fully and voluptuously than he ever managed before or after in the genre of opera.