En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | James Conway

Top notch singing, judicious pruning and production which prioritises human drama over camp spectacle make for an illuminating take on Handel's most frequently staged opera.

A fine cast breathes life into the story of the captured Ottoman Sultan Bajazet and his Mongol conqueror.

A revival of James Conway's staging of Ottone launches English Touring Opera's autumn season of three Handel operas. 

Rimsky-Korsakov's anti-tsarist satirical fairytale makes for an entertaining rarity in ETO's spring tour.

English Touring Opera has revived James Conway's production of La bohème to launch the company back to full operations post-lockdown. What this new run lacks in finesse is made up for in bags of heart and spirit.

It sizzles with energy, fizzes with musical delight and rejoices in an understated sense of fun. Conway gives the work’s incongruities free rein and defies the audience not to chuckle.

James Conway's production for English Touring Opera returns in a trimmed-down, single-evening guise. 

Weill's satirical fairytale bites just as hard today as it did in 1933.

A direct and expressive new production of one of Mozart's most adventurous operas enthrals at the Hackney Empire. 

Rossini's Elisabetta, regina d'Inghilterra is a hard work to love and English Touring Opera's new production which launched at the Hackney Empire Theatre struggled to make a case for regular outings.

English Touring Opera’s new Radamisto took time to settle down on opening night.

A great return appearance for English Touring Opera's Puccini double bill opening its spring tour at the Hackney Empire.

Conway's decision to render Handel's epic in its entirety was let down by a static staging and unnecessary repeats that masked the hidden gem-like arias.

ETO's charactistically clear, simple production conveys Homer's story with clarity, confidence, and charm – and even humour – from a fine cast, making an exciting start to fully-staged opera at Saffron Hall. 

Updating 470BC Abydos to a 1940s RAF base complete with tin hangar and outdoor privy seemed at times more Dad’s Army than a particularly cohesive tale of war and love.

English Touring Opera gives Gluck's reformist masterpiece a suitably blood-spattered outing in a production which keeps the opera in touch with its classical roots. 

Donizetti's back catalogue proves just as rich as his well-loved works, with this blisteringly good foray into an extraordinary opera whose UK premiere is 179 undeserved years late. 

Fine orchestral and singing performances in ETO's Pelléas et Mélisande aren't enough to overcome some of the work's difficulties.

James Conway’s production of La bohème may be a little restrained on banter, but hits all the emotional high notes, is compellingly played and superbly sung. 

Written half a century before the verismo movement, Donizetti paints a true-to-life portrait of a besieged people which is genuinely touching. James Conway's straightforward production features some notable individual singers and an excellent performance by the chorus.

A beautiful and much-put-upon princess, a pair of royal lovers who have never met, a scheming mother, and a pirate who is a prince in disguise: Ottone is a feast of ideas, beauty and fun. 

English Touring Opera take Tippett’s powerful pacifist retelling of Homer’s Iliad on tour in a strong, beautifully designed production, directed by James Conway, which will leave hearts and minds in turmoil.

Agrippina was a force to be reckoned with: the granddaughter, sister, niece, wife and mother of four Roman Emperors (and lover, incestuously, of at least two). As Mary Beard points out in her brilliant programme introduction, “Agrippina was probably the best connected woman that the Roman world ever saw” – and one of the most ruthless.

When the Baroque movement in art ended, the backlash was severe. The very adjective became an insult: the cold, clear, rarefied eye of 18th-century Neoclassicism found its opulence stifling, its luxury oppressive, and its profusion of ornament, ugly.

A very concise, two-act opera which tells a bleak wartime tale of sacrifice, rarely performed and never realised to the satisfaction of its own composer. You could be forgiven for thinking I was describing something from 20th-century Germany, perhaps an expressionist work taking after Berg’s Wozzeck or similar. You’d be wrong.

English Touring Opera’s Verdi title for their Spring season in this composer’s (and Wagner’s) anniversary year is one of no small ambition. Premièred to only modest success in Venice in 1857, it would take Verdi another 20 or so years to return to Simon Boccanegra to try to fix the old “wobbly table” (as he and his librettist, Boito, later dubbed the 1857 version).

“I apologise to those who anticipated togas, or 17th-century Venice”, writes James Conway in the programme notes to his production of Monteverdi’s The Coronation of Poppea, currently running at the Royal College of Music’s Britten Theatre in London.

When Emperor Überall decrees an all-pervasive war that will result in the death of his whole population, Death takes umbrage at the fact that his job is being usurped and, in the mother of all demarcation disputes, goes on strike.

Eugene Onegin is one of the greatest of all operas, both musically and dramatically: Tchaikovsky's temperament and compositional proclivities find in the libretto the perfect characters and subject matter such that his particular genius is allowed to flourish and bloom, more fully and voluptuously than he ever managed before or after in the genre of opera.

Mozart’s penultimate opera, La Clemenza di Tito is a curious work; probably the least known of his major operas, it is heavy on the recitative and lacks any “big tunes”, but it has a fascinating and timeless plot, which offers moments of high drama and eloquently depicts the loneliness of the supreme ruler.