Thomas Adès’ new opera is his finest stage work so far, writes Barry Millington

The Spitalfields Festival leads a weird and wonderful jaunt through Schumann's love songs

The soprano and the pianist demonstrate consummate musicianship at Wigmore Hall 

At the Royal Festival Hall, Vladimir Jurowski reinvigorates a symphony unheard for 80 years 

The French singer and his Ensemble Artaerse push at the limits of Baroque style in this Handel reinvention at Wigmore Hall

Joyce DiDinato soars as Rossini's troubled queen with an astounding performance at the Royal Opera House

Despite the excellent Sasha Cooke in the title role, Nico Muhly’s new opera doesn't match up to the Hitchcock film, writes Barry Millington

The Elie Ensemble opened the Hampstead Arts Festival with a concert worthy of a far more experienced group, writes Barry Millington

Composer Ben Gernon brings a sense of menace to the works of Britten and Tchaikovsky

This is a refreshingly minimalist, stimulatingly postmodernist take on Verdi's opera, writes Barry Millington

Alice Coote held the house rapt with her performance, writes Barry Millington

The power of music in the face of inhumanity has rarely been more movingly asserted, writes Barry Millington

An impressive spectacle is matched with insightful theatrical critique in this well-staged Royal Opera House revival 

Judith Weir's quirky and imaginative 1990s opera is an inspired choice for the British Youth Opera, writes Barry Millington

Rattle's players delivered the entire concert brilliantly, although not quite flawlessly, with an impressive sense of 18th-century style

An impressive lighting concept made the Festival Hall feel spiritual, writes Barry Millington

This exuberant production rarely exudes the insidious power intended, writes Barry Millington

Richard Jones' production strips Puccini's opera bare, writes Barry Millington

Keith Warner's production of Verdi's opera is thought-provoking and stylishly abstract, writes Barry Millington

Last night's This Is Rattle event offered the opportunity to experience some remarkable but often omitted Stravinsky scores, writes Barry Millington