En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Graeme Broadbent

The Linbury re-opens its doors to opera with a new work whose libretto is superbly crafted by Francesca Simon, featuring a tour de force performance by Marta Fontanals-Simmons as the Norse goddess Hel.

Director Oliver Mears turns Scottish Opera’s Eugene Onegin into a memory play, with fine singing from a strong cast starring Natalya Romaniw as a thrilling Tatyana.  

Mozart's Don Giovanni is transported by director Oliver Platt to The Queen Mary in the 1930s. It looks handsome enough, but the concept is flawed.

Inventive comedy and excellent musicality bring Sir Thomas Allen’s traditional production back to life.

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

At carnival time, Cavalli’s mission was to make his audience laugh, wow them with a bit of vocal gymnastics, butter up their romantic feelings with a few delicate cadences, and maybe leave a tear or two in their eye. It’s a potent formula, and it still works.

“Here be dragons!” warned seafaring maps of yore, denoting uncharted territories. Martin Kušej, undertaking his first Royal Opera exploration, excised the sea monster from his vision of Mozart’s Idomeneo. 

Stephen Barlow’s staging of Puccini's Western is easy on the eye, if short on verismo. Susannah Glanville impresses as the barkeeper with a heart of gold.

There is something pleasurably straining, for the big-hall, velvet-accustomed operagoer, about the experience of sitting for three hours on a very tiny bench in a charmingly chiselled, candlelit little theatre that invites contemplation in its own right – beyond the attractions, musical and other, set up within its frame.

Southbank Centre’s The Rest is Noise festival is continuing this season with programming focusing on the second half of the 20th century. Tonight’s music was a part of the festival’s Britten centenary celebrations, adding in works by Copland and Shostakovich.

To end the 2012/13 season, Scottish Opera has teamed up with the D’Oyly Carte Company to create a crisp new production of The Pirates of Penzance, which heads off to England and Wales after touring Scotland.

While there’s no reason that a children’s opera should be simple or easy, there’s no real need for it to be difficult either. So I was a little confused going into the Barbican’s performance of Oliver Knussen’s brilliant brace of Maurice Sendak adaptations this Saturday, which was surrounded, despite the works’ subject matter, with a slightly unbecoming aura of seriousness.

The second collaboration between Opera Rara and the BBC Symphony Orchestra brought a starry cast to the Barbican Centre on Sunday evening for a revival of Donizetti’s tragic opera Belisario. Written in 1836, immediately after the triumph of Lucia di Lammermoor, it was an instant success following its première at the Teatro La Fenice in Venice and remained in the repertoire for several decades.

The memory has dimmed somewhat in the past few years. But it remains firmly entrenched in my mind. I wish I could say that this moment was a formative one in my development as musicologist; that destiny took hold of this young boy and led him to the path of his eventual vocation. But no such thing happened.

Paradox is unsurprising in the works of a composer who said: "The more constraints one imposes, the more one frees one's self of the chains that shackle the spirit." The often distancing neoclassical idiom seemed unable to deny Stravinsky's The Rake's Progress (1951) emotionally engaging and affecting music.

La Forza del Destino isn't performed nearly as often as Verdi's most popular works: this year's production at Opera Holland Park is the first time it's been staged in the UK for several years.