En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Angharad Lyddon

Amid the rough winds of late May, Julia Burbach directs Opera Holland Park's first venture into Wagner – The Flying Dutchman. 

Vladimir Jurowski's six-year Ring with the LPO closes as the cycle began: a gleaming, golden ring with a black hole at its core. 

Using Jonathan Dove and Graham Vick's distillations of Siegfried and Götterdämmerung, the company concluded its miniature Ring cycle in under five hours, without sacrificing musical or dramatic tension.

Some exceptional singing intermittently enlivens Daniel Slater's production which, dramatically and emotionally, takes time to ignite.   

Britten's four lovers were costumed in quasi-contemporary, even glamorous manner, stripping to their underwear for the end of Act 2... so more Love Island than Ancient Athens.

In a new production at The Grange Festival, Elin Pritchard's performance of Puccini's titular heroine in this 1940s-era update is a tour de force.

After Bach and Brett Dean, the LPO gave Stravinsky’s Pulcinella a ride in their musical Rolls-Royce... and it gleamed.

Jonathan Dove's lean reduction of Wagner’s score for just 18 players is performed at the Grimeborn Festival in Julia Burbach's staging. 

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

Philip Glass' hypnotic opera returns in Phelim McDermott's outstanding production that respects the solemn, statuesque grandeur and epic ritual of the score. 

The London Philharmonic Orchestra and their Principal Conductor Vladimir Jurowski open their new series "Changing Faces: Stravinsky's Journey" in grand imperial style.

A newly-orchestrated version of Jonathan Dove’s chamber opera drew some impressive performances from Heritage Opera in this pared-down adaption of Jane Austen’s third novel.

There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice. 

“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard. 

As director of the film Topsy-Turvy, Mike Leigh seemed like a natural choice to turn his hand to The Pirates of Penzance at English National Opera. Sadly, this proved not to be the case. 

Royal Academy Opera's thoroughly competent Suor Angelica precedes a fabulously entertaining Gianni Schicchi, with a top drawer performance from Haobin Wang in the title role.

Drawing a line of suffering from ancient Rome to Golgotha to the concentration camps, Britten’s blank postcard from Belsen strikes to the heart of humanity. The Rape of Lucretia is brilliantly realised by the Royal Academy of Music.

It is a truth, universally acknowledged, that a Handel opera in pursuit of a happy ending must have a few twists and turns, and Ariodante has everything you would expect.

Tête à Tête: The Opera Festival is an amazing opportunity for emerging opera companies and performers, giving valuable time and attention to bold and strange new works.

A landmark in Trafalgar Square, St Martin-in-the-Fields was London’s first free-lending library, is home to one of the world’s foremost chamber ensembles (The Academy of St Martin in the Fields), and puts on hundreds of classical music concerts each year.