En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Janis Kelly

Deftly conducted by Charlotte Corderoy, Cecilia Stinton's new production of Rossini's immortal comedy brims with fun.

Conceived for television and first seen on BBC2 in May 1971, Owen Wingrave should lend itself to creative staging and the small screen. Does this new film convince? 

Cast changes and a revival director who sharpens up the action make all the difference to this revival of Rossini's *Barber of Seville* in Glyndebourne's opening weekend. 

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

The cast, sets, costumes and direction of Muhly's opera Marnie impress, but the music somehow falls short of expectations.

It's hard to find anything not to admire in a thrillingly strong production of Britten's haunting chamber opera. 

Fiona Shaw's production doesn't always get everything right, but Lucy Crowe's debut as the Countess is the defining success of the this revival.

A revival of Arden's 2016 production of Rossini's Il barbiere di Siviglia is lifted by a strong ensemble cast for Glyndebourne's tour.

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

Nearly 30 years after its European première, Nixon in China returns to Amsterdam for an engrossing concert performance in which the Youth Orchestra of the Netherlands, led by Kevin John Edusei, shines.

Glyndebourne's annual performance at the Proms proves dramatically untraditional but musically solid.

Annabel Arden's new production, although decently sung and visually striking, is seriously under-directed, allowing forced acting to blunt the humour.

Sondheim's Sweeney Todd seen and heard as it is: one of the greatest late-20th-century operas. 

The laughs keep on coming in Liam Steel's glorious 1950s Albert Herring in an English village where pretensions rise as morals decay, while Nick Pritchard shines as our modest eponymous hero.

Elder led a performance that twinkled with Rossinian wit, while Serena Malfi left you clamouring for a swift return to Bow Street.

In a world that sees racial hatred and resulting violence across the world, Aldeburgh's stylish production re-establishes the meaning of Owen Wingrave for a new generation, performed by the new generation.

This is ENO’s third outing for this production of the Philip Glass classic since its debut in 2007 – and no wonder, when it combines an adventurous artistic vision with surefire commercial success in a way that director’s opera so often doesn’t.

It wasn’t surprising that English National Opera’s UK première of The Perfect American was one of the most eagerly anticipated productions of the summer. Based on a fictitious narrative by Peter Stephan Jungk, the opera offers a timely glance behind the plush curtains of Walt Disney’s animated feature films.

Buxton, a small spa town in Derbyshire, has been home to one of the most imaginative and important festivals in Britain for over thirty years.

Read our review of Peter Sellars' production of Nixon in China by John Adams, in its 2011 broadcast from the Met Opera in New York.

The eponymous heroine of Dvořák’s Rusalka is a water-sprite from the woods and lakes of Middle European fairy-tale, very much the territory familiar to ballet lovers in Giselle and Swan Lake.