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

Les deux chanteuses ont proposé un panorama innovant des sept péchés capitaux à travers les styles et les cultures, avec la complicité unificatrice de Julius Drake au piano.

En compagnie de William Christie et ses Arts Florissants, la mezzo Lea Desandre et le contre-ténor Jakub Józef Orliński ont réservé une soirée délectable avec leur programme très original.   

Fleming's program, an outgrowth of her Grammy-winning album Voice of Nature: The Anthropocene, makes an urgent case for the preservation of the world's natural wonders.

Baritone Benjamin Appl and accordionist Martynas Levickis tour Europe and the USA in songs and solos demonstrating both the richness and simplicity of 19th- and 20th-century music. 

Yannick Nézet-Séguin invites the Marcus Roberts Trio in place of a traditional soloist, and the group brings a freewheeling, improvisatory touch to Gershwin's masterpiece. 

Heinrich Heine settings by Schumann and Schubert are counter-balanced by Duparc and Cole Porter in a Temple Song recital reflecting on night and day.

In place of a full musical, this revue highlighted classic and contemporary songs that celebrate places and cultures, although some selections seemed questionable out of context.

From Fauré and Duparc to Barber, Ives and Copland, the Canadian bass-baritone and Julius Drake explore a range of song.

Theater Bonn successfully tackles Kiss Me, Kate in an appropriately light production.

Cole Porter's exuberant wordsmithery and his smash-and-grab appropriation of a dozen musical styles can hardly fail to entertain; Opera North give us four top class leads.

Welsh National Opera's co-production of Kiss me, Kate is another good argument for opera companies to stage Broadway musicals.

The BBC Concert Orchestra and Keith Lockhart offered a snapshot of the Bard's lasting artistic impact with music for composed for stage and screen, from this side of the Atlantic and beyond the pond.

Opera North's Kiss Me Kate directed by Jo Davies at Leeds Grand Theatre is sheer joy.

Thomas Hampson unternahm in der Münchner Philharmonie mit seinem Programm einen Streifzug durch knapp drei Jahrhunderte Musikgeschichte - zusammen mit dem Mozarteumorchester Salzburg unter der Leitung von Pavel Baleff.

She made cynics swoon and skeptics burst: Jessye Norman, along with pianist Mark Markham, serenaded eager listeners with love songs from the Great American Songbook and 20th-century France.

The John Wilson Orchestra has rapidly established itself as a Proms highlight. Following on from a standout My Fair Lady in 2012, this year's Kiss Me, Kate showed the Orchestra at its very best, with an equally fabulous cast and crew.

“Made in Yorkshire” was a misleading title for this afternoon concert because the connections with the county were tenuous: tenor Joshua Ellicott made a point of reminding us before he started that he was born on the other side of the Pennines, and the only apparent link for soprano Bibi Heal, clarinettist Colin Honour and the man at the piano Anthony Kraus (a popular and respected chorusmaster an

Susan Graham is the mezzo representative of the generation of American singers, including Barbara Bonney, Renée Fleming, Dawn Upshaw and Sylvia McNair, who rose to prominence in the mid to late 1980s and distinguished themselves internationally with their superlative techniques, gorgeous lyric instruments, and impeccable professionalism.