En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mikhail Svetlov

Gil Rose conducts all three of Rachmaninov's operas in Boston, with impressive performances making a convincing case for at least two of them. 

The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame. 

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

An embarrassingly trite libretto proves unsalvageable, even with a committed cast of singers.

The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.

Disparaged by critics and his fellow musicians, Tchaikovsky's The Maid of Orléans is performed by Odyssey Opera. 

Problems of orchestral balance cloud Olivia Fuchs's straightforward, compelling staging of Janáček’s tirade against the rigidity and hypocrisy of small town society.

Perhaps not a masterpiece, but worth exploring, Mascagni's Iris returns to Opera Holland Park. 

In Opera Holland Park's latest foray into obscure verismo, an excellent orchestral performance and high quality singing fails to translate into a compelling drama.

La Forza del Destino isn't performed nearly as often as Verdi's most popular works: this year's production at Opera Holland Park is the first time it's been staged in the UK for several years.