En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Tim Albery

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

Tim Albery's Opera North production is successfully revived, with a new cast.

Thoughtful cuts, an extremely skillful orchestra and active, inventive staging made this sexy dark comedy engrossing and highly watchable. 

Robert Murray excels as the eponymous king in the opera seria that cemented the 14-year old Mozart’s position as the next big thing. 

Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival. 

Alcina also disappoints as a showcase for sustainable opera, despite that being Opera North’s pledge for this production. 

In 1724, Handel's Giulio Cesare was a vehicle for star singers Senesino and Francesca Cuzzoni. Maria Sanner and Lucie Chartin step into their shoes with great success for this Opera North revival. 

Tim Albery's production for Opera North is well sung and superbly acted, involving us deeply in Janáček's tragic family drama.

Opera North's triumphant UK première production of Silent Night by Kevin Puts is directed at Leeds Town Hall by Tim Albery and conducted by Nicholas Kok.

An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

If you had received an invitation to a masked ball at which there turned out to be no masks and no dancing, it's understandable you'd feel disappointed. 

A convincing revival for Opera North's Madama Butterfly at Leeds Grand Theatre directed by Tim Albery and conducted by Martin Pickard.

This production, directed by Tim Albery and with sets and costumes by Tobias Hoheisel, boasts more than one megastar.

Maestro Leo Hussain’s translucent rendition of the score made Capriccio the crowning glory of the Santa Fe Opera Season.  

Mozart's messy monster of an opera gets a brutalist tidy-up at Garsington, but the determinedly straightforward reading only makes this work's innate problems more obvious. 

So many things are right about Mark Simpson's new opera Pleasure, receiving its London debut at the Lyric Hammersmith.

Tim Albery's 2010 production of Tannhäuser, receiving its first revival at Covent Garden, begins with a stylish opening 20 minutes, but thereafter things become rather bland. 

Opera North's Così fan tutte directed by Tim Albery at the Grand Theatre, Leeds, is a welcome revival of an intelligent, nuanced production.

Mozart himself might have pulled a few weeds from this early opera. Lovely voices and sprightly playing can't overcome an overgrown plot in Santa Fe. 

Some very fine singing and beautiful, if sometimes confusing, visual effects in Opera Philadelphia's Don Carlo.  

Amber Wagner sings Elisabeth with a deepened command and an access to a horizon of sound that make it seem as though her throat had found six more inches of release. It’s a phenomenal performance.

A dark and minimalist staging doesn't quite fire Wagner's Flying Dutchman into life at the Royal Opera House, despite worthy performances from Bryn Terfel, Adrianne Pieczonka and others under the direction of Andris Nelsons.

Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar. 

A welcome return for Tim Albery's intelligent production of Verdi's Macbeth with Opera North at Leeds Grand Theatre.

This is the one Britten work scheduled by the Metropolitan Opera this year, in Tim Albery’s production from 1996, revived most recently in 2002. The psychological designs are infused with such colour that the staging in no way shows its age.

Few operas begin as arrestingly as Verdi’s Otello; no overture here – or, indeed, the first act of Shakespeare’s play. Instead, in a single galvanising orchestral outburst a terrific storm is set in motion, underpinned by the most gratingly dissonant of pedals in the lowest reaches of the organ.

The Roman emperor Julius Caesar’s entanglement with the Egyptian queen Cleopatra is one of the best-known love stories of all time, and the operatic re-telling by George Frideric Handel, with its incredible music and universal themes of war, passion and politics, is experiencing a resurgence.

As The Flying Dutchman nears its close, the crew of Daland's ship are celebrating their safe homecoming and yelling at the Dutchman's unseen crew to join them. To their horror, they realise that they have indeed woken the dead: the Dutchman's crew are ghosts who have wandered the oceans for centuries: the storms cannot burst their sails for they are protected by Satan.

When Giacomo Puccini's Madama Butterfly premiered at La Scala in 1904, it was heavily booed. Few who attended that disastrous first performance could have imagined that, more than one hundred years on, it would have evolved into one of the most enduringly popular and widely performed operas in the world.

The concept of freedom is at the heart of Opera North's current production of Fidelio. As soon as you open your programme, you are encouraged by the company's General Director Richard Mantle to consider Beethoven's only opera as having something to say about the struggle for liberty that has been taking place in the Middle East over the past few months.

My last opera of the year was also my first Wagner: a new Covent Garden production of Tannhäuser, directed by Tim Albery and conducted by Semyon Bychkov.First things first: Bychkov was magnificent.