Kilkenny Festival introduces Julius Eastman to new audience

A fiery pianist, and a singer of phenomenal range and power

Elektra: Power and passion from Irish National Opera in the Kilkenny rain

Soprano Giselle Allen projects captivating humanity and emotional intensity

Hansel and Gretel: Flamboyance, playfulness and imagination in INO’s take on Humperdinck

Opera review: Some signals get crossed, but this production aimed both at adults and at children is a really worthwhile venture

Griselda review: Pantomime vibe intrudes on some triumphant moments

Irish National Opera’s production features superb singing, but a brave effort to modernise the story isn’t a total success

Festival director calls for dedicated visual arts space for Galway

Paul Fahy says it is ‘shocking’ that city is still without a proper cultural hub and gallery

The Magic Flute review: Riveting music, touching, satisfying performances

Caroline Staunton directs an entertaining, thought-provoking Mozart production for Irish National Opera

Madama Butterfly review: an airbrushed Pinkerton but a triumphant production

Why couldn’t a truthful response remain focused on what befalls a child of fifteen, recalling other fifteen-year-old girls?

Classical concerts of the week: From Bach to Gluck

Paul Lewis plays the NCH, while opera Orfeo ed Euridice tours the country

Classical concerts: how do you attract the aficionados and the fickle?

This is the tightrope walk the RTÉ NSO and Damselfly Trio attempted last week

Heresy review: Giordano Bruno’s dramatic journey from monk to martyr

Impressive singing from a versatile cast is supported by a recorded Roger Doyle score

The Last Siren review: a tour de force by Lauren Kinsella

The vocalist subtly and powerfully sustains both her difficult character and the audience's attention

I prefer Mendelssohn’s early stuff (to Mozart’s)

There is nothing in Mozart’s early output to match the compositions Mendelssohn wrote aged 16 and 17

Review: Attacca Quartet

Wispelwey (cello), Ainsley (tenor)

A deep and diverse cross-section of Benjamin Britten’s output