Live, Video: Find classical music concert, opera, ballet and dance reviews | Philippe Auguin

The punishing role of Medea is forever associated with Maria Callas. To celebrate the diva’s centenary, Greek National Opera presents a new production by Sir David McVicar, starring Italian soprano Anna Pirozzi.

Auguin conducted as if he really believes in this evergreen work, which was wonderful to hear in the composer’s rather overlooked anniversary year.

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.

David McVicar's production may divide audiences with its no holds barred approach to the debauchery of the court of Mantua, but is well worth seeing for the Gilda of Tuuli Takala.

Kaneko's vivid designs grace this charming Butterfly. 

Kristine Opolais may not pass so easily for an oriental 15 year old, but her Cio-Cio San deftly avoids Titipu stereotypes.

Vienna State Opera's traditional production of Carmen managed to create an evening of both sumptious music and exciting drama on stage.

Tonight’s Götterdämmerung brought the cycle to a fitting – and wholly American – conclusion. 

Zambello's Ring for the WNO continues to engage and impress. 

Zambello's Die Walküre engages and excites in this promising Ring cycle. 

Das Rheingold stages flawed American Ambitions in the first Ring Cycle in Washington DC. 

The atmospheric surroundings of St Olaf's Castle in Savonlinna host a well acted and well sung Tosca, with opera and chorus on top form as well as three highly credible soloists.

A pleasing performance from WNO of The Flying Dutchman, with Eric Owens brooding magnificently over the whole. 

Michael Volle stars as a complex Mandryka in the Met's birthday revival of Richard Strauss's Arabella.

On Saturday night the Kennedy Center for Performing Arts was packed with ardent opera lovers who came to the Washington National Opera to enjoy one of Puccini’s most heartbreaking love stories, Manon Lescaut.

On Wednesday night the Kennedy Center for Performing Arts was more crowded than a shopping mall during the holiday season. Apparently, nothing could keep DC opera lovers from getting to the Washington National Opera - not even the notorious peak hour traffic.It comes as no surprise that Mozart’s Don Giovanni, known to some as "the greatest opera ever written" is on most opera fans’ must-see lists.

When I saw a three-tiered theater set-up on the Kennedy Center Opera House stage, consisting of boxes decorated with blue velvet, gold and exquisite paintings, I have to admit that even having seen various different stagings of Verdi’s Nabucco before, I was intrigued.

I hear that both you and your friend are getting married to wealthy and pretty ladies from Washington DC?My heartiest congratulations, gentlemen! As my early wedding gift, allow me to offer you some marriage wisdom: when your beloved betray you, remember to forgive them and keep living happily ever after.Don’t believe in betrayal? Well, then, allow me to prove my point.

On Thursday night the DC opera fans gathered at the Washington National Opera for the opening night of David Alden’s production of Donizetti’s timeless tale of love and horror, Lucia di Lammermoor. It soon became obvious that the production presented to us was not the most conservative one.

For over a century, Puccini’s Madama Butterfly has been one of the most famous and widely staged operas in the world. The secret of this undying popularity lies in the complex and contradictive nature of the main heroine. Audiences always look for new vocal and dramatic interpretations of the character and keep their expectations high for the leading soprano.

Un Otello, en el Liceu, en la producción de Kriegenburg, con algunos claroscuros y en la que destacó Desdemona con una acertada interpretación.