John Allison

Sakari Oramo drew a sensitive tribute to Czech composer Dora Pejačević from his players, ending with a rousing rendition of Mahler’s Fifth

Garsington’s new production of this precocious awakening of Mozart’s operatic genius has been a long time coming but was well worth the wait

With the action shrewdly shifted from Mantua to an Oxbridge college, this expertly sung Verdi staging is a great success

In the light of Russia’s invasion of Ukraine, English Touring Opera’s enjoyable staging of Tamerlano has a bracing topicality

Jean Cocteau and Guillaume Apollinaire combine in a production that could hardly be more Gallic in spirit

Garsington Opera’s excellent season-closer features a richly textured score and life-changing debuts

Garsington Opera’s new production gives Dvořák a post-industrial aesthetic, but Natalya Romaniw provides the power and warmth

Garsington Opera’s new production of Monteverdi’s 1607 masterpiece is a terrific evening of true ensemble work

Both Ukrainians and Russians came together to perform a programme that was both haunting and hopeful

Kicking off at the Hackney Empire, ETO’s new production recreates the bustle of Bohemian Paris with a local touch

The Canadian conductor-performer produced a self-indulgent display that didn’t suit either Poulenc’s 1959 work or her own soprano voice

The conqueror Tamerlano becomes a wounded, morphine-taking psychopath in Irish National Opera’s stark new staging

The widely-loved operatic masterpiece could have done, alas, with a far more energetic and thoughtful treatment than this

John Allison - The Telegraph

One of the last concerts before lockdown refreshingly put Beethoven in a new light

Snape Maltings’ decision to welcome audiences back to its concert hall is a rejoinder to this year’s audience-free Proms

Fifteen years and five revivals later, David McVicar’s production of Faust is proving one of Covent Garden’s most bankable shows.

Beatrice Cenci may not quite be Berthold Goldschmidt’s most emblematic work, but this opera and its mixed fortunes still tell us everything about the composer.

English National Opera has been accused of many things, but promoting opera as a museum art has not – until now – been one of them.

As shown by the recent scare – now happily resolved – over funding to the European Union Youth Orchestra, these can be fragile times for our youth ensembles.