En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Ross Ramgobin

Clou du festival Présences qui lui est consacré, George Benjamin dirige un Written on skin bouleversant à la Philharmonie, qui rappelle avant tout la richesse de l'écriture orchestrale du compositeur.

Plongée dans cette nouvelle production nantaise, entre l'interphone et le réverbère, portée par de jeunes chanteurs convaincants. 

Scion of generations of sitar players, Nishat Khan is the perfect person to tell the "greatest love story never told" behind India's most iconic building.

A revival of Mariame Clément's production of Rossini's less-loved comic gem provides the sense of Italian sun to warm the body and belly laughs to warm the soul.

For the Aldeburgh Festival's 75th anniversary celebrations, Daniel delivered a great performance of Vaughan Williams's Oboe Concerto, in the company of Gustav and Imogen Holst.

A 16-year interval sounds more like a resurrection than a first revival, but the return of Stephen Barlow's staging of Tosca is well worth the wait.

Natascha Metherell relocates the action to an Italian film studio of the 1950s, which looks great but brings problems. 

Ann Yee and Natalie Abrahami give Rusalka an ecological reading, but it's the musical side of things that really takes flight in The Royal Opera's new production.

Richard Jones' production is revived again at Covent Garden, where Juan Diego Flórez and Ailyn Pérez lead a convincing cast. 

The City of Birmingham Symphony Orchestra and University of Birmingham Singers revel in the ecstasy, majesty and glory of Stanford’s Requiem. 

A game of three halves from the Britten Sinfonia, with a late appearance by three star soloists.

Problems of balance bedevilled a fine programme of some of Weill's most bitter, ironical works which improved substantially after the interval.

Phelim McDermott's popular staging of Satyagraha, which verges on the lush and the voluptuous, is revived to open English National Opera's season.

Amid all the18th-century flummery, contemporary touches abound as the OHP's post-pandemic season opens. 

Editor Ben Willis almost convinced me that two grown men could fit inside grandfather clocks

Conceived for television and first seen on BBC2 in May 1971, Owen Wingrave should lend itself to creative staging and the small screen. Does this new film convince? 

Virginie Verrez acted not with fire and ice but with gallic insouciance.

Gaitanou’s direction of the singers is so exact that it becomes impossible to separate them from their characters.

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

Dorset Opera Festival's bold decision to programme Massenet's obscure opera about a medieval Castilian hero proves to be a major success.

It's not easy to imagine a freezing Parisian attic when you're in the middle of the rolling Dorset countryside in a baking summer, but Dorset Opera's excellent production of Puccini's La bohème is atmospheric enough to do so.

ETO's production of Mozart's nuptial comedy, being performed in towns across the country, lacks depth but has some terrific singing with a particularly fine Susanna from Rachel Redmond.

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

A joyous explosion of tuneful Victorian satire provides an unlikely, yet ideal, contrast to English Touring Opera's Tosca as their Patience tours the UK in this finely-cast, period-perfect production.

Englishman Laurence Dale’s Göttingen Festival production of Handel’s Agrippina, now presented in the second Brisbane Baroque Festival, is based on the political void between appearance and reality. 

Philip Pullman's exotic adventure about a girl determined to follow her father's footsteps gets a gently magical outing with Sri-Lankan inspired shadow puppetry and a strong cast. 

In a world that sees racial hatred and resulting violence across the world, Aldeburgh's stylish production re-establishes the meaning of Owen Wingrave for a new generation, performed by the new generation.

For an opera school production, it's a good idea to choose a classic: something that will focus the audience on the quality of the singers and orchestra rather than on innovation in the piece or programming.

When you go to a student opera production, even at an institution as prestigious as the Royal Academy of Music, you don't expect to see one of the opera world's conducting legends in the pit. But that's precisely what we had at last night's performance of Berlioz's Béatrice et Bénédict, in the shape of Sir Colin Davis (CH, CBE), a man with several thousand opera performances on the clock.