The real triumph of Michael Fabiano's role debut as Werther lay in controlling the bold intensity of his voice in favour of a sweet and lower-key level of passion – a match for Massenet's frequent choice of the cello.
A century on from its birth, one of Switzerland’s leading orchestras finally makes its Proms debut in a scintillating programme of French and Russian music.
In a highly effective stage presentation, the Minnesota Opera tells Jules Massenet’s story of two personalities whose spiritual journeys are like two ships passing in the night.
Organised by Berlin State Ballet audience’s darling, the principal dancer Polina Semionova, the gala Polina & Friends and its stellar cast literally left the house roaring from enthusiasm.
Yet another revival of MacMillan's signature ballet. Enlivened by tremendous performances, not least in the title role, and still a classic. But, how long will that pertain?
Massanet’s Don Quichotte is mounted by Opera Australia, in a production which creaks but is held together by fine singing from Ferruccio Furlanetto and Warwick Fyfe.
This production fell just short of brilliance but showed how relevant and thought-provoking opera as an art form can be when tapping into today's headline debates.
Aspiring Perth (WA) company Opera Box provides an enjoyable night at the opera, cementing their willingness to perform major mainstream works, challenging the dominance of the established companies and their less imaginative choices.
Just what the doctor ordered: a programme of Franco-Iberian musical delights to advance the cause of a Mediterranean lifestyle, with Charles Dutoit and the RPO in commanding form.
Ivan Magrì's exemplary technique and strong delivery in his London recital debut left his audience hoping for a return visit to the Rosenblatt series in the imminent future.
Cellist Gautier Capuçon and pianist Frank Braley are artists I have previously admired in many chamber ensemble concerts, but their recital at Kings Place was the first time I heard them as a duo.
The Los Angeles Philharmonic's last week of its classical music season at the Hollywood Bowl began with romantic French music under an almost full moon played the sexy Seattle way.
Vittorio Grigolo and Joyce DiDonato live up to their starry reputations in the Royal Opera's latest revival of Massenet's tale of unrequited love and suicide.
A superbly-sung title role from Ed Ballard is the best part of this otherwise patchy, well-sung but ultimately unmoving Werther from English Touring Opera.
Cardiff Castle hosted an entertaining bout of medieval jousting yesterday afternoon, but in the evening all eyes and ears turned to the vocal jousting in St David’s Hall.
In a somewhat long-overdue debut at the Concertgebouw, bel canto royalty Juan Diego Flórez and rising star Pretty Yende wowed the Amsterdam public with a generous programme of bel canto music.
With outstanding performances from Roberto Alagna and Paul Gay, Pierre Corneille's elegant poetry shines through the return of Massenet's Le Cid to the Opéra de Paris, more than a century after it was last seen there.
Patricia Petibon manages to portray an absolutely charming Manon. She spans the space between innocence and worldliness and remains consistently energetic and delightful.
, Gerard Finley (Athanaël, singing).jpg "David Pittsinger (Polémon, left), Gerard Finley (Athanaël, singing) © Chris Lee | Metropolitan Opera")
