En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mark Pullinger

Sa création prévue l'été dernier au Festival d'Aix ayant été reportée, la mise en scène par Barrie Kosky de la satire politique de Rimsky-Korsakov a finalement lieu à Lyon. 

Alors qu'Emmanuel Macron a annoncé un retour aux théâtres et aux salles de concert en mai, l'Orchestre de Paris joue pour un public exclusif – mais silencieux – au bord de la Seine.

A Paris, l'enfant terrible russe réunit Iolanta et Casse-Noisette... avec des résultats très contrastés. 

Malgré une sombre mise en scène, c'est le plateau vocal qui brûle les planches de cet impressionnant Trovatore à l'Opéra Bastille.

Seong-Jin Cho continues his Artist Portrait series with the LSO by performing Chopin's poetic Second Piano Concerto. 

Alexandra Dovgan plays piano concertos by Clara and Robert Schumann at the Konzerthaus, but it's the Kammerorchester Basel's performance of a forgotten symphony which most impresses. 

With a trio of excellent performances, Balanchine's sassy Rubies proves the hit as Jewels – a relatively recent acquisition – returns to the Wiener Staatsballett. 

A double-header celebrates Schubert featuring Allan Clayton and Paul Lewis in Winterreise and the Austrian folk/rock band The Erllkings.

The second revival of Richard Jones' staging of Mussorgsky's original 1869 version of Boris Godunov once again stars the Welsh knight. 

Agony, ecstasy and a double murder: Bill Barclay and The Gesualdo Six combine for a theatrical concert celebrating the life – and death – of the Renaissance composer.

The Japanese pianist’s Mozart is highly regarded, but how would he fair in a programme ranging from Beethoven to Brahms, culminating in Liszt's greatest Wagnerian transcription?

Leif Ove Andsnes joins the Vienna Symphony in the Musikverein's Golden Hall for a glowing account of Brahms’ Second Piano Concerto before a terrific Tod und Verklärung. 

Returning for its first anniversary, Arielle Smith and Aaron S Watkin’s Nutcracker for English National Ballet remains a feast for hungry eyes, despite its flaws. 

Even without a gingerbread house, there’s enough wickedness in Richard Jones’ staging of Humperdinck’s opera for sweet tooths to savour.

Manuel Renga’s sensitive framing device sets up a sympathetic production of a problematic opera, but is scuppered by the central vocal performance.

Il campanello and Deux Hommes et une femme bomb at the Donizetti Opera festival, but the young singers of the Bottega Donizetti – and wily old hand Alessandro Corbelli – impress.

Francesco Micheli reimagines Caterina Cornaro in a contemporary setting, switching to the historical past, to open this year’s Donizetti Opera festival in the composer’s home town.

The first new production of Alessandra Ferri’s directorship of the Wiener Staatsballett sees the European premiere of Alexei Ratmansky’s narrative ballet Of Love and Rage under its new title, Callirhoe.

It may be on its 663rd outing, but Margarethe Wallmann's Tosca is a classic for a reason, as proved in this outstanding performance at the Wiener Staatsoper. 

John Wilson brings his Sinfonia of London to the BBC Proms to crown the Ravel 150 celebrations with a glowing performance of his hedonistic symphonie chorégraphique.

Born to a Basque mother just ten miles from the Spanish border, Ravel excelled at authentic Spanish flavours as heard in this splendid festival concert by the Orchestre National de France.

Don Quixote provides the inspiration for songs by Ravel and Ibert, the high point of a bitty programme in contrast to an early evening recital which followed the perfect trajectory.

At the Festival Ravel, Bertrand Chamayou, Pierre-Laurent Aimard and Hyunji Kim perform all the solo piano works at the Église Saint-Vincent, a stone’s throw from the house where Ravel was born.

Between gigs at Wembley as Coldplay’s support act, the Simón Bolívar Symphony Orchestra brings its distinctive brand of infectious music-making to the Southbank.

Tchaikovsky stipulated that a staging of Eugene Onegin need not be lavish but should be kept in period. He would have been satisfied with the results here.

The Swedish clarinettist pays tribute to two jazz legends in Joshua Weilerstein's programme that includes Proms debutante, Elsa Barraine, and Rachmaninov.

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

After 45 years, Ambroise Thomas' Hamlet returns to Buxton in a gripping, psychological staging by Jack Furness. 

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Pet Halmen’s 2003 production of Puccini's unfinished final opera places asks more riddles than Turandot's quiz questions to her would-be suitors. 

Olavinlinna, also known as St Olaf's Castle, provides an atmospheric setting for Verdi's take on Shakespeare's “Scottish play”. 

Sir David Pountney's 1997 staging for Welsh National Opera is given a welcome new lease of life at Grange Park Opera, splendidly cast... with one major exception. 

The Orchestra of the Age of Enlightenment and Dinis Sousa bravely venture into Elgar at the Queen Elizabeth Hall, with mixed success.

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

Longborough Festival Opera, built on Wagnerian foundations, stages the UK premiere of Avner Dorman’s ambitious cautionary tale about the Wagner clan and establishing the composer’s legacy. 

Two notable debuts dominate Oper Leipzig's notable Lady Macbeth revival: Kristine Opolais as Katerina and Andris Nelsons in the pit. 

The combined forces of the Gewandhaus and Boston Symphony unite under Andris Nelsons for a searing Leningrad Symphony, while the Quatuor Danel tackles the string quartets. 

Carlos Acosta devises a programme of Ballets Russes highlights to celebrate Serge Diaghilev and to showcase the young dancers of Birmingham Royal Ballet’s junior company, BRB2. 

Pimpinone was conceived as a musical interlude – or intermezzo – between acts of Handel’s Tamerlano. Here, it marks the first time a Telemann opera has been staged at Covent Garden. 

As part of the Southbank Centre's Multitudes festival, Shostakovich's Leningrad Symphony is given a stunning visual direction by Kirill Serebrennikov to match the RPO's gripping playing. 

William Kentridge's film, a patchwork collage depicting Shostakovich's complicated relationship with Stalin, is played as film score to his Tenth Symphony at the Southbank's genre-crossing Multitudes festival. 

Igor Levit champions his young mentee Lukas Sternath in a joint Wigmore Hall recital culminating in Shostakovich's own transcription of his Tenth Symphony. 

The London Philharmonic welcomes back its Conductor Emeritus Vladimir Jurowski for a typically challenging programme of dark Russian and Ukrainian scores.

Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 

In the 50th anniversary year of Shostakovich's death, the Czech Philharmonic bring two of the composer's greatest works to the Barbican, the latest stop on their European tour. 

“But, soft, what light through yonder window breaks?” Yasmine Naghdi reaches new interpretative depths in this revival of Sir Kenneth MacMillan’s classic Romeo and Juliet. 

In the 50th anniversary year of Shostakovich's death, you'll be hard pushed to hear a more thrilling rendition of the Tenth Symphony. 

Maurice Ravel the orchestrator takes centre stage at the Musikverein in an evening of descriptive aural painting. 

Muti's Mozart with the Vienna Philharmonic is unfashionably well-upholstered, but their Dvořák New World Symphony is full of satisfying detail. 

Martha Argerich and Mischa Maisky's duo recital at Wigmore Hall turns into a trio... and offers the London audience a rare opportunity to hear the Argentinian pianist play solo.