En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Stuart Laing

An enjoyable performance of Die Fledermaus from the West Australian Symphony Orchestra and an excellent cast of singers is somewhat mitigated by the venue, as the celebrated Perth Concert Hall undergoes renovation.

Opera North's child-friendly production of The Cunning Little Vixen, conducted by Andrew Gourlay, is loaded with charm.

Richard Farnes returns to Opera North to conduct and Sam Brown directs a concert staging of Wagner's final opera, Parsifal. 

Bizet's Carmen at Leeds Grand Theatre, directed by Edward Dick and conducted by Garry Walker, provides thought-provoking modern resonances as well as an uplifting, tune-filled experience.

Brecht and Weill's Seven Deadly Sins, directed and choreographed by Gary Clarke and conducted by James Holmes, is performed by Opera North in a live-streamed performance from Leeds Playhouse.

Opera North brings Kurt Weill's “Broadway opera” Street Scene to the Leeds Grand Theatre in a thrilling production directed by Matthew Eberhardt and conducted by James Holmes.

Opera North's Salome, conducted by Sir Richard Armstrong at Leeds Town Hall, caught the seductive frenzy of the opera.

If you had received an invitation to a masked ball at which there turned out to be no masks and no dancing, it's understandable you'd feel disappointed. 

Two parts of Puccini's triptych are directed by Michael Barker-Craven - Il tabarro and Suor Angelica - in brilliantly successful productions at Leeds Grand Theatre.

Stephen Barlow makes the case for Beethoven's earlier version of Fidelio, but doesn't quite manage to convince.

Verdi's rarely-performed early masterpiece gets a succinct, powerful outing in top class style at Buxton. 

Britten’s only Shakespeare opera was a last-minute commission to celebrate the opening of the refurbished Jubilee Hall at the 1960 Aldeburgh Festival. Despite the narrow timescale, Britten and his collaborator and partner Peter Pears notoriously strove to adhere to the sixteen-century dramatic text as closely as possible. Only a handful of Shakespeare’s original lines were substantially modified.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.