En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Nikolaus Lehnhoff

Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

Riccardo Chailly kicks off his interim role as Principal Director at La Scala with Turandot, featuring Luciano Berio's ending, a score he knows like the back of his hand. 

Dating from 2008, the Semperoper’s current production of Rigoletto is quite intriguing. It’s set in what appears to be a swanky 21st-century Berlin apartment – industrial, sparse and effortlessly cool – and in many ways this is an interesting choice.

While the term “Eurotrash” gets thrown around more often than it should, it is one that has unfortunately become synonymous with many of the Wagner opera productions that take a non-traditional approach. As opera-goers go, I tend to sympathize with the directors and find that this approach can work fantastically well in bringing Wagner’s logistically impossible scenarios to life.

The ENO’s production of Parsifal, which opened last night, is a revival of their 1999 staging, directed by Nikolaus Lehnhoff and conducted by Mark Wigglesworth. This is Wigglesworth's first Parsifal, and he's made a triumphant start. The fifteen minute prelude was like listening to a symphony all by itself, and I was grabbed from the very first note.