En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | John Findon

David Pountney's vernacular translation and Ruth Knight's vivid staging lent a thrilling immediacy to Shostakovich's chilling opera.

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Why is Tchaikovsky’s very fine opera still a rarity outside Russia? David Pountney directs a new production at the Surrey festival. 

Manfred Schweigkofler's production places the drama in a surreal, timeless atmosphere at the Teatro San Carlo. 

Musgrave's powerful depiction of a powerful woman at the mercy of male manipulation receives a strong staging from at ENO. 

A visually delightful revival of Barbe & Doucet's action-packed Zauberflöte at Glyndebourne, with strong vocal performances throughout. 

David Alden's production is a vivid telling of Janáček's devastating village drama. With a terrific cast and a splendid performance from the pit, this revival is an unalloyed artistic success.

Margaret Atwood’s dystopic novel, masterfully adapted for the operatic stage, is strongly performed at ENO and rings even truer today than it did when it was written.

English National Opera opens its new season with a revival of David Alden's masterly production. 

Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

Christof Loy's production of Tosca at ENO replaces Catherine Malfitano’s and, despite being visually attractive, suffers certain muddled ideas. It boasts, however, a strong trio of singers who deliver a committed performance on the production's first night at the Coliseum. 

 Poul Ruders’ The Handmaid’s Tale comes home to English National Opera after 20 years in a powerful new production by Annilese Miskimmon.

Sinister aspects are stressed in Mozart's The Magic Flute at Leeds Grand Theatre directed by James Brining and conducted by Robert Howarth.

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

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.

The Guildhall School of Music and Drama is firing on all cylinders with this double bill of rare surrealist operas by Martinů.