En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Natalya Romaniw

The latest, thrilling instalment of Barrie Kosky's Ring cycle at Covent Garden does not have to strain for contemporary relevance. 

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

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

The London Symphony Orchestra has a mighty history with Britten’s magnum opus and has this score in their collective DNA. 

A memorable performance, with Stephen Barlow conducting Janáček’s remarkable score with vividness and clarity, while David Alden's staging is a masterpiece of "less is more". 

Vassily Sinaisky, Natalya Romaniw and the City of Birmingham Symphony Orchestra take a crude, casual approach to music by Tchaikovsky and Beethoven.

An excellent singing cast combine with Bruno Ravella's sensitive direction and brilliant orchestral playing to bring to life Strauss' heady mix of farce and high art.

Soprano and mezzo Natalya Romaniw and Alice Coote top a strong line-up in Verdi's Requiem in Manchester's Bridgewater Hall.

Mark Elder brought the Hallé down to the Royal Albert Hall for an interesting programme of Dukas, Respighi and Puccini.

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

Natalya Romaniw, a diva to her fingertips, proves an ideal Floria Tosca in ENO's open-air performance at the South Facing Festival in Crystal Palace Bowl.

Anthony Minghella's classic production of Madam Butterfly makes a welcome return with a sensational role debut by Natalya Romaniw as Cio-Cio-San.

Mirga Gražinytė-Tyla approached the Eighth with a clear vision of the music’s structure and a plan to free the life that teems beneath its mighty vaults.

The BBC NOW gave us two hearty Russian works and celebrated the lunar landing with a world premiere of Huw Watkins' The Moon.

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

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

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

Jonathan Miller's production of La bohème is revived by ENO and features an important house debut. 

Lars Vogt and Royal Northern Sinfonia deliver Beethoven's Symphony no. 9 with swaggering self-confidence, and heroic chorus singing.

Director Oliver Mears turns Scottish Opera’s Eugene Onegin into a memory play, with fine singing from a strong cast starring Natalya Romaniw as a thrilling Tatyana.  

The cavernous Mayflower pit eats singers for breakfast and only Natalya Romaniw’s full-blooded Tatyana escaped its jaws unmarked

In a concert of two halves, Worcester Cathedral experiences unforgettable pain and pleasure in works by Strauss, Rasch and Janáček.

Grange Park Opera scored a direct hit with a fine production of Janáček's masterpiece, led by a superb performances from Natalya Romaniw and Susan Bullock as Jenůfa and the Kostelnička.

Intended to signify the contribution of Russian music to the Western canon, the Royal Choral Society gave admirable performances of two major choral works, rarely heard in Winchester Cathedral.

Scottish Opera may be admirably committed to Mascagni's under-appreciated opera, but the musical quality and vision are lacking.

Tchaikovsky's High Gothic opera about gambling obsessions is worth seeing for a first class staging, albeit with a mixed musical performance.

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

Anthony McDonald’s Rusalka looks and sounds wonderful in a traditionally told production, with Anne Sophie Duprels returning to the role.

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.

Vladimir Jurowski is a wily programmer. Pairing a concert performance of Rachmaninov's The Miserly Knight with extracts from Das Rheingold seemed a shrewd move.

Enjôleur, irréel et effrayant, doté d'une solide distribution de jeunes chanteurs : difficile d'imaginer un meilleur Tour d'écrou que celui de la version de Jonathan Kent à Glyndebourne, redonnée par Francesca Gilpin à l'occasion de leur tournée 2014.

Ermanno Wolf-Ferrari is a bit of a strange fish: a recluse, a self-described mystic, and proud enough of his hybrid German-Italian identity that he appended his mother’s maiden name to his own at the age of nineteen.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.