En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Stephanie Wake-Edwards

The Royal Academy of Music marks its 200th anniversary with Mahler's all-embracing Third Symphony, a work that fills both the evening and the concert platform.

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

Following success in New York and Madrid, Oropesa gives Covent Garden a Violetta that will be difficult to better.

Unlike many Flutes, David McVicar's 2003 production treats Mozart's score as a proper opera, albeit with romp instead of pomp. 

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

As theatre, Isabelle Kettle's staging of Kurt Weill's Seven Deadly Sins is timelessly harrowing and bang up to date.

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

Students triumph in Tchaikovsky's Iolanta and Ravel's L'Enfant et les sortilèges.

A musically sensitive account of Monteverdi’s Poppea, with simple staging and 1950s costumes, sees singing triumph noticeably over the relative theatrical inexperience of HGO’s talented young cast.