BBCSO/Stasevska review – Auntie’s delayed premiere and an electrifying Sibelius First theguardian.com/music/2022/oct…

The week in classical: Orpheus; Apartment House review – rich, rewarding, different theguardian.com/music/2022/oct…

Classical home listening: African American Voices with the RSNO; Clare Hammond plays Montgeroult theguardian.com/music/2022/oct…

Puss in Boots review – rarely seen Spanish opera purrs with charm theguardian.com/music/2022/oct…

I’m not stoned, I’m just writing an opera! Colm Tóibín on how he got diva fever theguardian.com/music/2022/oct…

Raising their voices: why the English song festival is nothing about misty-eyed nostalgia theguardian.com/music/2022/oct…

Royal Opera House announces Jakub Hrůša as its new music director theguardian.com/culture/2022/o…

Alisa Weilerstein review, Wigmore Hall – Bach’s cello suites sing and dance theguardian.com/music/2022/oct…

Mahan Esfahani review – Scarlatti’s sonatas surprise us anew theguardian.com/music/2022/oct…

Why is there so little coverage of classical music? | Letter theguardian.com/music/2022/oct…

La Bohème review – Christmas comes early to the Royal Opera House theguardian.com/music/2022/oct…

Classical home listening: Víkingur Ólafsson takes two; Caroline Shaw looks up theguardian.com/music/2022/oct…

The week in classical: The Ring of the Nibelung; Berlin Philharmonic/ Fischer review – a human experiment theguardian.com/music/2022/oct…

The best of both worlds: Opera North’s Orpheus reimagined theguardian.com/music/2022/oct…

Cherry Town, Moscow review – Shostakovich’s operetta becomes a zany romp but outstays its welcome theguardian.com/music/2022/oct…

BBCSO/Oramo Total Immersion: Sibelius the Storyteller review – hair-raising climaxes and soaring intensity theguardian.com/music/2022/oct…