En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Nicholas Pallesen

Jonathan Miller's production remains a work of brilliance, but poor conducting amongst other things keeps this revival from getting off the ground.

Laughter is indeed the best medicine. As we try and make sense of the continuing political fallout post EU referendum, the CBSO offered the perfect prescription in the ample form of Verdi's Falstaff.

David Alden’s muddled clichés failed to convince all the time, but Edward Gardner steered us through a thrilling musical account of Tchaikovsky’s terrific opera.

“He’s not an opera director. He’s a very naughty boy!” Three years after his surreal Damnation of Faust, Terry Gilliam tackles more Berlioz for English National Opera in the shape of Benvenuto Cellini, striking gold again.

The prefab riffs of computer programs like GarageBand aren’t entirely new. As shown by the musicologist Robert Gjerdingen, many 18th- and early 19th-century composers used pedagogical materials as a basis for their compositions, “composing out” passages in creative ways. But this method is not something the ordinary listener is supposed to recognize.

The New York City Opera has spent the season reinventing itself from a large company with a large theater to a peripatetic one presenting small works. Perhaps it was apt that they closed their season with Telemann’s Orpheus.