En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Joshua Bloom

L'adaptation de l'opéra de Britten par Ted Huffman et Oliver Leith est un bijou musical et théâtral, porté par une équipe d'artistes exceptionnels.

Le chef-d'œuvre de John Adams fait son entrée à Bastille par la grande porte, avec une mise en scène inspirée de Valentina Carrasco, une distribution exemplaire et une excellente direction musicale.

Dimanche 5 juillet au Barbican, le London Symphony Orchestra rejoint par des élèves de la Guildhall School et de nombreux choristes amateurs présentait "The Monster in the Maze" de Jonathan Dove, un opéra très enthousiasmant dirigé par Sir Simon Rattle, suivi par une symphonie de Walton elle aussi exaltante.

Excellent vocal acting from Thomas Hampson, Renée Fleming, Xiaomeng Zhang and a magnificent orchestral performance conducted by Kent Nagano can't make Valentina Carrasco's production fully grip.

Sir Peter Hall's classic staging of Britten's Shakespearean comedy nears a landmark moment in Glyndebourne’s autumn season. 

An incandescent concert performance of Tippett’s The Midsummer Marriage launches a new era for the London Philharmonic under principal conductor Edward Gardner.

Garsington Opera's new production of Rossini's comic masterpiece is a bawdy hoot, but humour aside it features an ensemble who provide first-class bel canto singing.

A pared back production is required in these Covid times: as little physical contact as possible, no chorus on stage, and tempi brisk and alert to keep the audience in the house for as short a time as possible. 

Barry goes for out-weirding Carroll at a fast and furious pace. There's plenty of fun and it's beautifully staged – but is that enough?

Brett Dean's operatic reworking of Shakespeare's Hamlet receives its German premiere in a powerful new staging by the work's librettist Matthew Jocelyn.

Every July, Buxton’s charming opera house hosts an international festival of opera, literature and the arts. This year the festival opened with a strong familiar favourite, Tchaikovsky’s Eugene Onegin.

Edward Gardner conducts a richly entertaining account of Berlioz's masterpiece in Birmingham

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

Joshua Bloom and Paula Murrihy excel in Irish National Opera's staging of Bartók's opera, although director Enda Walsh takes too many liberties with the libretto. 

Thomas Adès continued his Beethoven cycle with the Britten Sinfonia in a superb performance of Beethoven's Sixth paired with Barry’s marmite piece The Conquest of Ireland.

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

Jennifer France and Nicholas Lester are a compelling double act in Rossini’s sparkling comedy La scala di seta from Scottish Opera in Concert.

Simon Rattle leads the LSO and a fine chorus and cast of soloists in Ligeti's masterpiece: surreal, madcap but touching the sublime.

Lewis Carroll's Alice: so crazy that all Gerald Barry can do is make it crazier.

A roster of star performers and a sprinkling of maestro magic turn this semi-staged concert into a memorable event. Shame about the big ideas.

Singapore’s amazing Orchestra of the Music Makers presents Mahler’s “Gift to the Entire Nation,” his massive Eighth Symphony, as part of the celebrations marking the country’s 50th anniversary as an independent state.

As director of the film Topsy-Turvy, Mike Leigh seemed like a natural choice to turn his hand to The Pirates of Penzance at English National Opera. Sadly, this proved not to be the case. 

Chelsea Opera Group presents the strongest case imaginable for Massenet’s Le Roi de Lahore, with Michael Spyres, no less, as the King. 

A suitably rustic account of Janáček’s tale: seductive, engaging, and with a sense of intimacy ideal for this small venue.

Garsington Opera takes a comedic approach to Beethoven's Fidelio. The result is amusing and musically strong, but lacking in both dynamic staging and emotional depth.

Francesca Zambello's huge, ambitious production returns once again to the Royal Albert Hall, with lavish costumes, excellent choreography and riotous crowd scenes which will charm children in particular. 

The Auckland Philharmonia’s choice for their opera in concert this year, The Rake’s Progress is a curious beast indeed. Loosely based on a series of paintings by William Hogarth, the libretto was penned by the great Anglo-American poet W.H.

A trip to the opera at Garsington in its new, idyllic setting at Wormsley Estate, Buckinghamshire, is a fine treat even in the rain. And with a Don Giovanni production which, despite plenty of oddities, is light-hearted and often witty, an excellent evening of high-class entertainment is guaranteed.

The Importance of Being Earnest is Gerald Barry’s fourth full-length opera; his previous three have set texts much more at home in the opera world than this ambitious libretto from Wilde’s famous play.

From the opening bars of the Overture of Opera Australia’s production of Mozart’s The Marriage of Figaro it was clear that this was going to be a production with a difference. As the orchestra began, the curtain raised to reveal a room, painted in brilliant white, with clothes rails at either end containing maids’ costumes.

Read our review of Michael Grandage's production of Don Giovanni by Mozart, in its 2011 broadcast from the Met Opera in New York.