En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Tom Pye

The Royal Ballet revive Ashton's masterpiece with some superlative leading performances in a production that is visually rich and imaginative.

With sumptuous new set designs and costumes, The Royal Ballet are in splendid form in Sir Frederick Ashton's Cinderella.

Philip Glass' operatic take on Ancient Egyptian history returns to the Coliseum in Phelim McDermott's hypnotic production, complete with jugglers...

Is it possible to have a minor success on every level? Kevin Puts' The Hours underwhelms in its world premiere production at the Metropolitan Opera. 

Yuri Possokhov's Anna Karenina aims to be a dark psychological drama, but its uneven character development and unengaging choreography fail to satisfy.

Ailyn Pérez’ role debut as Tatiana in Eugene Onegin at the Metropolitan Opera is a joy, with Piotr Beczała's Lensky the evening’s other standout. 

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

Phelim McDermott’s Coney Island Così fan tutte returns to The Met, in sparkling vocal performances. 

The third in the composer’s “portrait” trilogy finally arrives at The Met in Phelim McDermott's spectacular production. 

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

Phelim McDermott’s new Met production is set in Brooklyn’s Coney Island in the late 1950s and is brilliantly vivid looking, but Mozart's music plays second fiddle. 

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma.  Robin Ticciati led the Met Orchestra to probe a new depth of the score.

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.

Melly Still returns to revive her 2012 staging at Glyndebourne, laying nature bare. Cartoonish, but never sentimental, it presents Vixen red in tooth and claw, 

Phelim McDermott tackles Philip Glass's ancient Egypt in a production that's totally absorbing visually and aurally, with a star performance by Anthony Roth Costanzo.

David Robertson carried the Met Orchestra through one of the most brilliantly-conducted performances I’ve witnessed, though the music itself was not always impressive. 

Così fan tutte in a 1950s carnival setting. Visually spectacular, and with plenty of laughs. Not everything works, but still worth seeing, especially for Roderick Williams' spivvy Don Alfonso.

Julian Anderson’s Thebans, a bold attempt at condensing Sophocles’ three Theban plays into a single opera. The result is a powerful piece of theatre which drags the audience into the story of Oedipus’s horrific downfall and death, with its ensuing civil war.

Premièred in 1973, Death in Venice was Britten’s last opera and therefore his last chance to create a big starring role for his lifelong partner Peter Pears.

If I were to describe Janáček's late opera The Cunning Little Vixen as a bit of a one-off, I could be accused of severe understatement. It's the only opera in the mainstream repertoire to be based on a cartoon strip, it mixes animals and humans at will and it incorporates dance and mime routines, all against the backdrop of the setting of ancient forest so beloved by middle European romantics.

Hijacking, murder and terror on the high seas: you might expect that The Death of Klinghoffer, John Adams's 1991 opera about the Palestinian hijacking of the cruise liner Achille Lauro has all the makings of a pot-boiling thriller. But you would be wrong: Adams and his librettist Alice Goodman have other fish to fry.

Young man spurns the love of a good woman. Time passes. Man realises the error of his ways, but it is too late. It's not exactly the most taxing of plot lines, but in Eugene Onegin, Alexander Pushkin turned it into a masterpiece.