En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Ruth Jenkins-Róbertsson

A solid Magic Flute from the performers but marred by the director's foibles. 

Fine soprano performances from Ruth Jenkins-Róbertsson and Victoria Simmonds can't save Ambroise Thomas's inanimate object of a plot. Thank goodness Wagner saved us from more of the same. 

Positioned at the heart of St Paul’s Cathedral, Rutter took to the stage to perform a sold out concert dedicated to his life as a composer. 

A child's world comes magically to life in Ravel's one-act lyric fantasy L'Enfant et les sortilèges in a beautiful production by the young singers of Samling Academy.

Rapturously romantic, intimate, moving, unforgettable: more English summer opera should be like Iford. And the garden is like Narnia in the spring. 

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

A year of theatre refurbishment leaves Scottish Opera with only three and half full productions this season, so the spotlight turned firmly onto this Don Giovanni from director Sir Thomas Allen, designer Simon Higlett and lighting designer Mark Jonathan.

The story of Hansel and Gretel is at least 200 years old – the Brothers Grimm, those avid collectors of German folklore, first published it in 1812. And this well-loved tale’s longevity is something that Garsington Opera’s new production draws attention to from the outset. During the overture, a group of shadowy figures drop pages from a book, which Hansel and Gretel collect with glee.

Following acclaimed productions at Scottish Opera of The Marriage of Figaro and The Barber of Seville, recently revived, Thomas Allen returns to Glasgow to direct The Magic Flute.

For a composer of such undeniable genius and widespread popularity, it is strange that there aren’t too many opportunities to hear J.S. Bach’s cantatas performed live in concert.

The Royal Academy of Music has a small but beautifully refurbished theatre, the 230 seat Sir Jack Lyons Theatre, where it stages full opera performances. Although many of the seats are taken by Academy staff, performers' friends and families, talent scouts and others with specific reasons for being there, some of the tickets are available to the public.