Nick Kimberley
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La fanciulla del West: An opera through a haze of cowboy stereotypes
Puccini’s work set in the Gold Rush of California is a high risk opening to Opera Holland Park’s season
Proms 2017, review: Aurora Orchestra / Collon
Playing Beethoven's Eroica Symphony without the score is no mean feat, but Aurora Orchestra pulled it off
Tête à Tête review: Hit-and-miss is all part of fun of opera festival
This opera festival will confound your expectations and might show you a future classic, writes Nick Kimberley
Proms 2017, review: BBC Now / Wigglesworth
Brian Elias' new concerto succumbs to the irresistible, dulcet charms of the cello, writes Nick Kimberley
Proms 2017, review: Last Night of the Proms
When the flag-waving got underway, there were as many EU pennants as Union Jacks, writes Nick Kimberley
The Judas Passion, classical review: Iscariot of fire
Mary Bevan as Mary Magdalene was as much observer as participant, but her voice was radiant, writes Nick Kimberley
West-Eastern Divan Orchestra review: Barenboim gets to the heart of it
Daniel Barenboim leads Arab and Israeli musicians in a moving and technically exquisite charity concert
Dardanus, opera review: Modest but telling production of rare opera
The singing is characterful and piquant under Jonathan Williams' direction, writes Nick Kimberley
Lucia di Lammermoor, opera review: Touch of madness works wonders
Lisette Oropesa is a revelation as Lucia in her Royal Opera debut, writes Nick Kimberley
A guide to the unmissable highlights of the 2017 Proms
General booking for the world’s greatest classical music festival opens on Saturday. Nick Kimberley picks his highlights
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LPO/Jurowski, review: Maestro ensures it’s all right on the night
The performance came off smoothly despite four soloists withdrawing days before, writes Nick Kimberley
The Soldier’s Tale, CLS/Collins, review: A devil of a time
Simon Russell Beale stars in this pleasingly understated production of Stravinsky's rarely performed piece
New York Philharmonic/Gilbert, review: This orchestra plays big
Cellist Yo-Yo Ma was pushed towards his admittedly capricious limits in a piece by Finnish composer Esa-Pekka Salonen, writes Nick Kimberley
Early Opera Co/Curnyn: Top-drawer Handel is anything but incidental
Devout Handelians in London were spoilt for choice last night, writes Nick Kimberley
Jonathan Biss, classical review: Thinking pianist is a master of mood
Jonathan Biss offered fleeting glimpses of distant worlds of possibility, writes Nick Kimberley
Pop-Up Opera's I Capuleti e i Montecchi: Tragedy goes underground
The tunnels and chambers beneath Waterloo station made an oddly fitting venue for this production of Bellini's opera, writes Nick Kimberley
Patience, opera review: Mercilessly mocking still hits home
This production takes a while to hit its stride, but patience is a virtue after all
The Pirates of Penzance: Mike Leigh’s vision verges on pantomime
The action relies too much on pantomimic exaggeration and the text’s doggerel falls flat-footed, says Nick Kimberley
Rigoletto, review: Jonathan Miller's production is ageing elegantly
First staged at the English National Opera in 1982, this is the show's thirteenth revival
The Depraved Appetite of Tarrare the Freak: Sardonic puppet opera
Sita Calvert-Ennals’s production reshapes historical fact to suit the needs of puppetry, writes Nick Kimberley
Steve Reich at 80: Survey of Reich's work contains highlights aplenty
Some of Reich's pieces are more art installation than composition, writes Nick Kimberley