En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Gregory Bonfatti

While this revival is imperfect, the Cherubino of Svetlina Stoyanova proves a marvel to hear.

The French director’s much-travelled production arrives at the Teatro di San Carlo, displaying a precise balance between word, gesture and voice. 

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh. 

Huge de Ana's staging is carefully crafted but feels dramaturgically outdated as the Teatro di San Carlo heads into the twilight of sovrintendente Stéphane Lissner’s final season. 

Manfred Schweigkofler's production places the drama in a surreal, timeless atmosphere at the Teatro San Carlo. 

The Teatro di San Carlo opens its season with Vasily Barkhatov directing a Gen X mish-mash take on Puccini's final opera. 

Barrie Kosky's well-travelled staging reaches Naples with fine performances from orchestra, chorus and singers mixed with some questionable musical and directorial decisions.

A sublime Federica Lombardi leads a young cast of mostly Italian singers in a revival of Sir David McVicar's popular staging. 

Falstaff très réussi à l'Archevêché d'Aix-en-Provence, pour notre plus grand plaisir : une véritable leçon de joie dans un monde où, nous dit-on, tout n'est que farce.

Zubin Mehta conducts Verdi's Otello in an iconic Robert Wilson production of stylized theater where less is more. The effect was mesmerizing.  

With so little of worth happening onstage, this performance requires a unanimously strong set of performances from the main cast.

Not a particularly revealing Falstaff, but a pleasing performance though. Maybe one would have expected something of greater impact from a festival like this one, but that goal had already accomplished by Graham Vick with his Stiffelio the night before...

Pour la première de la saison lyrique romaine, Daniele Gatti amenait l’Orchestra e Coro del Teatro dell’Opera di Roma dans un Richard Wagner épuré.

La mise en scène de Marco Arturo Marelli et Enrico De Feo se veut fondamentalement ancrée dans le contexte historique de la création de l’œuvre mozartienne.

La saison lyrique du Théâtre du Capitole s’achevait avec le dernier des opéras de Puccini : Turandot, œuvre inachevée, terminée par son compatriote Franco Alfano.

James Gaffigan, aided by a fine cast of soloists led by the full-blooded Rigoletto of Dimitri Platanias, demonstrated that Verdi's powerfully dramatic music does not need staging to keep the audience captivated.