Maria Stuarda at the Royal Opera House

Maria Stuarda, Royal Opera House, review: Joyce DiDonato is transcendent

One always expects high style from the directing duo Leiser and Caurier, and the opening moments of their new Maria Stuarda are both arresting and puzzling.

Proms 2014: Why the Proms are losing their director Roger Wright

This year’s concerts will feature the starriest names in classical music. But in the background is the sudden departure of director Roger Wright. We reveal the real reasons for his exit

English National Opera the biggest loser in Arts Council funding shake-up

The English National Opera was the highest profile loser as its grant was slashed a third in the Arts Council’s three year funding shake up, while concerns were raised over the number of regional organisations to lose funding.

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La Finta Giardiniera, Glyndebourne, opera review: 'Emerges with irresistible charm'

The action is allowed to float free of time and place

Ariadne auf Naxos, Royal Opera House, review: 'An assured take on Strauss’s teasing amalgam of high-flown tragedy and ribald comedy'

Christoph Loy’s serenely assured take on Strauss’s teasing amalgam of high-flown tragedy and ribald comedy is proving one of the most enduringly enjoyable productions in the Covent Garden repertory; the razzmatazz of the Prologue, with its grand to-and-fro between upstairs and downstairs, gives way to an operatic staging whose elegance perfectly matches the restrained beauty of the score.

The Cunning Little Vixen, Garsington Opera, review: Over-busy, but with outstanding singers

The three leads are 'magnificent' but the dance diffuses the dramatic focus

Tamar Iveri: Opera Australia sacks star soprano over homophobic Facebook post describing gay people as ‘sewage’

Singer has blamed husband for post and said she ‘abhor[s] prejudice in any form’

Georgian soprano Tamar Iveri blamed her husband for a Facebook post comparing gay people to 'sewage'

Opera star Tamar Iveri blames husband for Facebook post describing gay people as ‘sewage’

Georgian soprano said her ‘very religious’ husband wrote the comments which appeared to support homophobic violence

David Lister: It’s right to relax concert rules, but try not to get carried away

Audience etiquette at classical music concerts has often been as fascinating to observe as the concert itself. Don’t clap between movements. Do cough between movements. Indeed, the louder the between-movements cough, the more it signals that the cougher is a music aficionado.

The Southbank Sinfonia performed Handel’s ‘Messiah’ at the raucous concert

Crowd surfer carried away by Handel thrown out of alternative Proms

When Tom Morris launched the Bristol Proms, he invited audiences to participate with enthusiasm in a festival which would destroy the stuffy conventions of traditional classical concerts.

Kristine Opolais as Manon Lescaut and Jonas Kaufmann as Chevalier dex Grieux

Manon Lescaut, Royal Opera House, review: 'Radiates a very modern sleaziness'

Flamboyantly designed by Paul Brown, Jonathan Kent’s production of Puccini’s Manon Lescaut could not be more different from Laurent Pelly’s daintily stylised Belle Epoque version of Massenet’s take on the story which we saw in the same house four months ago.

Body of work: Antonio Pappano

Sir Antonio Pappano: Conducting gave me Tennis elbow'

Covent Garden's musical director, Sir Antonio Pappano, tells Jessica Duchen about funding crises, new productions, cinema broadcasts, and the pain of wielding the baton
Laura Mvula hopes to inspire children to become passionate about classical music

BBC to give every child the ten pieces of classical music 'they need to hear'

Every primary school child in Britain will have the chance to experience 10 pieces of classical music at a nationwide cinema screening, in a BBC initiative designed to inspire a love of orchestral music among young people.

Owen Wingrave, Aldeburgh Festival, opera review: 'Brilliant pianism'

Benjamin Britten’s Owen Wingrave has always been regarded as problematic. Composed for television in 1969, it drew its pacifist inspiration from Britten’s experiences as a conscientious objector in 1942, and from the peace movement provoked by the Vietnam war.

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