En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Adam Player

Voltaire and Bernstein's wilful political incorrectness make Candide a challenge to behold, but the Sydney Philharmonia meets them in a concert performance in the opera house.

Pinchgut Opera's L'incoronazione di Poppea is a glorious feast of singing, acting and playing but the production is brutal, taking Monteverdi's vision of corruption in high places to excessive lengths.

ETO's charactistically clear, simple production conveys Homer's story with clarity, confidence, and charm – and even humour – from a fine cast, making an exciting start to fully-staged opera at Saffron Hall. 

James Conway’s production of La bohème may be a little restrained on banter, but hits all the emotional high notes, is compellingly played and superbly sung. 

Shostakovich’s 1959 operetta Moscow, Cheryomushki (“Paradise Moscow”) is to date one of the most uncomfortable evenings I have ever spent in a theatre, though, I hasten to add, not because of the performance.

Since its inception in 1972 the Royal Northern College of Music has gained a reputation for excellence in the field of opera, having often staged extraordinary productions of repertoire familiar and forgotten.

If you’ve never been to a grand-scale choral work at the Royal Albert Hall, I’d urge you to do so at the earliest opportunity. This wasn’t my first visit to the Proms, and I’ve experienced oratorios, requiems and passions galore in other places, but to hear hundreds of accomplished singers filling this vast circular space was new territory for me. The hall seemed made for the occasion.

Lust, betrayal, beheadings. The words appeared prominently in the publicity for Opera Seria’s debut production of Donizetti’s Anna Bolena, bringing Horrible Histories fleetingly to mind, but they do sum up the plot of one of the composer’s greatest works rather well.