En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jon Morrell

Christopher Alden’s Olivier Award-winning production of Handel’s Partenope returns to the Coliseum, but it's the singing that earns the plaudits. 

Pleas for more Respighi operas are answered as the students of the Guildhall School of Music and Drama give the UK premiere of Lucrezia, paired with Ethel Smyth's Der Wald.

Jorge de León, en el rol titular, dominó la escena en el segundo reparto de la producción de Otello que abre la temporada del Real.

El Teatro Real abre la temporada con la producción de David Alden de Otello en la que brillaron la dirección de Nicola Luisotti y la actuación de Asmik Grigorian, pero con un resultado general algo tibio.

Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival. 

A strong cast led by Bekhzod Davronov and Gabriella Reyes plus an intense production helps Floris Visser unusual staging of La bohème stand out from the crowd.

An ideal young cast and a thoughtful production bring fresh perspectives to Puccini's tragedy.

Christopher Alden trae al Teatro Real de Madrid una Parténope al estilo art decó dinámica de la que supo exprimir toda su comicidad.

The combination of a strong, spirited cast and a first-rate orchestral performance led by Daniele Callegari rendered the opera a moving experience in spite of drab staging and latent, unexplored tensions.

Una producción redonda de David Alden que tiene en Patricia Racette y la dirección musical del maestro Josep Pons sus mejores credenciales.

More relevant than ever, the patriarchal nightmare of Verdi's Rigoletto is dark and unflinching in Scottish Opera's revival of their 2011 production, with some striking scenes and fine singing.

Christopher Alden's account of Handel's love pentangle is long on Man Ray imagery and modern language wordplay, but never hits the vocal highs and eventually palls.

A lacklustre season opening at Teatro Real proves once again the elusive nature of Verdi's masterpiece.

In Janáček's searing excoriation of small town social mores, superb orchestra, singing and acting make this revival of David Alden's Jenůfa into an unmissable evening of opera.

Tim Albery's 2010 production of Tannhäuser, receiving its first revival at Covent Garden, begins with a stylish opening 20 minutes, but thereafter things become rather bland. 

On the second night of San Francisco Ballet’s second visit to Beijing, the company treated their Chinese audience to a varied programme: Tomasson’s Caprice, Wheeldon’s Rush, van Manen’s Variations for Two Couples, and Balanchine’s Theme and Variations.

Mozart himself might have pulled a few weeds from this early opera. Lovely voices and sprightly playing can't overcome an overgrown plot in Santa Fe. 

“Beware, my Lord, of jealousy” warns Iago, planting the seed of doubt in Otello’s mind. Beware, too, the dangers of preconceptions. Keen anticipation of this new production of Verdi’s Otello was tempered by the prospect of David Alden as director.

For any opera company to mount a Wagner opera is a great undertaking. For a very small semi-professional opera company to mount the entire Ring cycle is a feat of extraordinary daring and perhaps madness. But that is exactly what Fulham Opera has decided to do.