En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Malcolm Rippeth

L'opéra méconnu de Verdi bénéficie d'une belle direction musicale, d'une mise en scène parfaitement lisible et d'une distribution convaincante.

A superb orchestral performance from Paul Agnew and The English Concert lights up a breezy and fun staging of Rameau's ballet bouffon.

Diane Paulus' staging is remarkably true to the original while making it feel like the work was written yesterday.

An excellent singing cast combine with Bruno Ravella's sensitive direction and brilliant orchestral playing to bring to life Strauss' heady mix of farce and high art.

Robert Murray excels as the eponymous king in the opera seria that cemented the 14-year old Mozart’s position as the next big thing. 

Louisa Muller returns to revive her 2019 production, preserving the ambiguity – did the Governess see these things or imagine them? 

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.

Smyth's rarely performed tale of evil deeds on the Cornish coast provides searing drama marred by poor intelligibility and an overpowering orchestra.

First marketed as Ivan the Terrible by Serge Diaghilev, Rimsky-Korsakov's first opera The Maid of Pskov makes a rare appearance outside of Russia, in leafy Surrey. 

Outstanding singing from a beautifully chosen cast led by Miah Persson and Hanna Hipp. 

The Philharmonia and Garsington Chorus deliver great performances, as do Natalia Tanasii and Fleur Barron as the two Larina sisters.

Director Louisa Muller overcomes the problems of opening a ghost story in natural daylight to deliver plenty of operatic chills. 

Tough, thrilling, ambitious and new: The Skating Rink is an exciting new major commission by Garsington, and its world première delivered on every level.

Bruno Ravella's fast-paced Falstaff for Garsington still has crucial space for pathos amid the comedy, with a notably subtle central performance from Henry Waddington.