En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Catherine Backhouse

The ENB translates its digital films made during the pandemic into an evening of a live performance.

Editor Ben Willis almost convinced me that two grown men could fit inside grandfather clocks

There are no answers, nor indeed many probing questions, in this Scottish Opera revival of Sir David McVicar’s production from 2008, but it is sumptuous and enjoyable.

Two little-known 18th-century operas are given inventive new productions featuring some promising young singers.

At the Theatre Royal Stratford East, the student group made a convincing case for the French version of this gripping work.

Garsington’s first collaboration with the Royal Shakespeare Company married an abridgement of Shakespeare’s play with Mendelssohn’s incidental music, a union which promised much but which stumbled awkwardly.

Opera school productions are designed to provide experience for their students and showcase their talents to an audience sprinkled with casting directors. Clearly, the Guildhall School have decided to extract maximum value from their current production by staging not one opera but three, with different casts and even different orchestral musicians.

British Youth Opera have been fostering the best of young British vocal talent for 25 years, and it’s a delight to see them celebrating their anniversary this year with a work precisely as old as they are: Judith Weir’s A Night at the Chinese Opera dates from 1987, and made for a lively showcase for these rising stars at London’s Peacock Theatre last night.

When the king of the gods falls head over heels in love with you, seriously bad stuff happens. If you're a Handelian soprano like Semele, however, it happens very tunefully and in a thoroughly pleasant, elegant and cheerful manner for the whole evening.If you're confused as to the difference between opera and oratorio, Semele is the perfect aid to your confusion.