En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | David Greco

Pinchgut Opera presents magnificent music and a timeless ethical debate on faith versus sectarian difference. 

Ravishing music and performances, a crazy G&S plot, but physicality that tends to distract in Constantine Costi's production.

In arguably its best production to date, theatre luminary Neil Armfield combines with Pinchgut and Erin Helyard for the first time to deliver this electrifying production of Rameau's comic masterpiece, Platée.

Not quite ready for a full-blown opera, but Sydney's Pinchgut maintains its historically informed purity with a delicately expanded version of Charpentier's Messe de Minuit.

Soprano Alexandra Oomens confirmed her star potential, but all soloists and players shone in this jubilant concert featuring Telemann's Thunder Ode and Bach's Easter Oratorio

Handel's Athalia is a wonderful English oratorio but this production, while musically wonderful, was marred by a problematic staging with infuriating surtitles.

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.

Messiah butchered and trivialised in Sydney performance

A revival of Francesca Zambello's production of Prokofiev's Love for Three Oranges at the Sydney Opera House is a joy, thanks to the antics of Kanen Breen at the head of a strong cast.

Another ancient hit revived and delivered with panache by Sydney-based Pinchgut Opera: Gretry's L'Amant jaloux (1778) proved it still could raise laughs, aided by a superb cast. 

Giasone was the most performed opera of the 17th century, but this was no dry, reverent exhumation. This was something much better from Pinchgut Opera: a joyous, animated resurrection.