En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Timothy Nelson

Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

Eloise Lally shifts the Romeo and Juliet love story into New York mafia families. Jessica Cale and Samantha Price provide blissful bel canto as the star-crossed lovers.

Opera North's triumphant UK première production of Silent Night by Kevin Puts is directed at Leeds Town Hall by Tim Albery and conducted by Nicholas Kok.

A searing examination of love in a time war is to be found in a new production and new edition of Rameau's greatest work.

With a combined age of 161 years, John Copley and Steuart Bedford certainly bring ample experience to Grange Festival's new production of Britten's Albert Herring. 

Clever staging and a high standard of acting does much to happily while away the three hours of this baroque opera in the second of ETO's Baroque extravaganza.

An especially adapted version of Purcell's Fairy Queen, reworked by Timothy Nelson, inspires an exceptional reading from a talented young cast at Iford. 

So many things are right about Mark Simpson's new opera Pleasure, receiving its London debut at the Lyric Hammersmith.

While it may seem perfectly formed for the full grand opera treatment, Verdi's classic Un ballo in maschera can also work extremely well on a small scale, as shown by this intimate and compelling treatment by Timothy Nelson at Iford. 

A reconstruction of a long-lost opera by Handel gives some exciting young singers the chance to shine at the London Handel Festival, even if the plot might be better back in the mists of obscurity. 

Third Hand's innovative use of puppets within opera pays off in this gloriously dramatic and visually exciting adventure, inspired by and set within the mythology of Shetland.

It may not be perfect, but this rare chance to see Rossini's La gazzetta should not be missed, in a glitteringly elaborate production with a talented young cast, great choreography and even a pantomime camel...

Imeneo (1740), Handel’s penultimate opera, is atypical on several fronts. It’s relatively short by Handel’s standards (three acts, under two hours of music); the plot is thin, but not as absurd or complicated as those of some of his other operas (there are no disguises, for example); the title role is composed for a bass; and the opera has a chorus which participates in the plot, rather than just

Riccardo Primo, Re d’Inghilterra (or in English, Richard I), is Handel’s only opera based on the story of an English monarch, and it was premiered in the coronation year of King George II in 1727 (although in fact it was composed the year before but postponed).