En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Miriam Buether

Avec Jungle Book Reimagined, le chorégraphe propose une relecture moderne et écologique du célèbre recueil de nouvelles de Rudyard Kipling. Mais la création manque d'imagination et de poésie pour toucher son public.

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

Strong performances by chorus, orchestra and the father-daughter pairing of Amartuvshin Enkhbat and Anna Pirozzi make this Covent Garden revival well worth the visit.

Sir Simon Rattle and the LSO give an orchestral performance to remember, with a fine singing cast, but Simon McBurney's staging dials the bleakness to maximum too early.

Robert Carsen's Aida focusses on the brutality of war, with powerful lead performances from Angel Blue, SeokJong Baek and Elīna Garanča, plus strong orchestral colours from Sir Mark Elder.

I felt that the choreography as performed by these excellent dancers was enough to carry the story without such excessive use of text and animation

This is an Aida for the 21st century, with many pertinent things to say about oppression.

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.

Richard Jones's production of Puccini’s Western opera La fanciulla del West is well sung, but fails to tap in to the Wild West atmosphere of the surroundings.

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

Keri-Lynn Wilson produces an outstanding UK conducting debut in Richard Jones' faithful production of Puccini's Girl of the Golden West for ENO.

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.