En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Andrew Kennedy

Tim Albery's production for Opera North is well sung and superbly acted, involving us deeply in Janáček's tragic family drama.

A scaled-down Adelaide Symphony Orchestra combine with the talented Adelaide Chamber Singers and visiting soloists, under the baton of Baroque specialist Matthew Halls to present a stunning performance of Handel’s Messiah.

Juanjo Mena conducts stirring accounts of Beethoven's Fourth and Ninth symphonies at Manchester's Bridgewater Hall with the CBSO Chorus.

Profound, fair and thought-provoking, Handel's Theodora argues for faith as a personal journey, not a political decree. The English Concert brought their rendition to the Barbican Centre in London.

The English Concert and Harry Bicket bring Theodora to Carnegie Hall, with Dorothea Röschmann, David Daniels and Sarah Connolly.

Britten’s The Turn of the Screw, part of the London Symphony Orchestra’s contribution to the Britten 100 celebrations, was supposed to have been conducted by Sir Colin Davis; it was instead dedicated to his memory following his death last Sunday.

The inter-war years produced some of the most dynamic and popular choral works that have been composed since the 18th century. Tonight’s London Philharmonic Orchestra concert, conducted by Hans Graf, combined two very different results of this flowering. Both masterpieces in their own way, they unexpectedly complemented each other and made for an entertaining concert.

In the celebratedly short time in which Rossini wrote The Barber of Seville, he got into a time capsule and took a short trip to twenty-first century London; on his return to 1816 Rome, he wrote the part of Rosina for Lucy Crowe's voice. Or at least, that's what it felt like at ENO last night, as Crowe turned in a performance which outstrips my ability to find superlatives.

The music of Herbert Howells has long been a fixture in British churches but continues to be absent from our concert halls. It’s true that much of his output, and almost all of his most popular works, are for unaccompanied choir or choir and organ, but his orchestral works include two piano concertos, a fantasia for cello and orchestra and several works for string orchestra among their number.

When choosing a Gilbert and Sullivan operetta to be performed at the Proms in a year firmly branded as "London 2012", The Yeomen of the Guard had obvious appeal, being set in one of the capital's most famous landmarks, and giving the opportunity, even in semi-staged form, to deck the hall with Beefeater uniforms.

Mention Beijing in London at the moment and some allusion to opening ceremonies, sports or medals will undoubtedly follow (with an optional grumble about the transport system tagged on the end).

Buxton, a small spa town in Derbyshire, has been home to one of the most imaginative and important festivals in Britain for over thirty years.

Nikolaj Znaider concluded the Hallé Beethoven cycle in emphatic fashion, preceding the Choral Symphony with another ninth symphony, that of Shostakovich. The football-style roar from the sell-out audience at the end of the evening was a good indicator of the quality of the concert.

The overture to Der Freischütz is a familiar concert warm-up, but the opera itself is a rarer find these days. It wasn't always so. With over fifty performances in the eighteen months following its 1821 Berlin debut, Weber's spooky tale of souls traded for magic bullets was an instant hit.