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

L’ouvrage de Sivan Eldar et Cordelia Flynn, qui critique la déforestation, suggère à travers une écriture immersive passionnante et troublante les ramifications de la catastrophe écologique sur les destins individuels.

Warner vuelve a mostrar su talento indiscutible en la escena y su afinidad con Benjamin Britten, aunque, en esta ocasión, el aspecto musical no ha acompañado lo suficiente.

Strong vocal and orchestral performances, supported by impressive visuals, struggle to bring coherency to Anthony Bolton's Island of Dreams at Grange Park Opera.

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

Paul Curran’s 2019 production is revived with some flair by Rosie Purdie, with a fine cast led by Pumeza Matshikiza.

An excellent singing cast combine with Bruno Ravella's sensitive direction and brilliant orchestral playing to bring to life Strauss' heady mix of farce and high art.

The five female voices in the opera's main roles complement each other wonderfully in this more-than-concert performance in New York. 

Grange Park Opera's revival of its 2015 production of Puccini's La bohème hits some high notes with a very contemporary feel and some excellent singing from its leading ladies.

Conceived for television and first seen on BBC2 in May 1971, Owen Wingrave should lend itself to creative staging and the small screen. Does this new film convince? 

Darkness sits alongside comedy in a new production of Humperdinck's delicious children's opera.

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.

Alessandro Talevi's production of Don Giovanni, conducted by Christoph Altstaedt, receives a welcome revival at the Grand Theatre, Leeds. 

A restless score, a stylish modern setting and gripping central performances from David Butt Philip (trading Laertes at the festival for the title role here) and Jennifer France (Ophelia) do much to commend this new work

Glyndebourne's second Traviata cast of the summer saw the festival field three principals worthy of any major international opera house. 

Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.

The first UK production of Karl Amadeus Hartmann’s 1930s anti-war opera Simplicius Simplicissimus is a musical and dramatic triumph, and as pertinent as ever

Opera North revives Sir David McVicar's 2002 production of Der Rosenkavalier under new Musical Director Alexander Markovic.  

“Out of this wood do not desire to go!” Tytania orders Bottom. Glyndebourne's revival of Peter Hall's classic production of A Midsummer Night's Dream is eerily enchanting, weaving its spell right from the queasy double bass glissandos, which slither into Britten's score.

Weaknesses in the staging did little to dim the musical pleasure of hearing Sir Mark Elder conduct Weber's masterpiece with OAE forces and an impressvee cast

Opera North's Così fan tutte directed by Tim Albery at the Grand Theatre, Leeds, is a welcome revival of an intelligent, nuanced production.

Britten’s final opera given an impressively atmospheric staging, ideally conceived for the small venue

Celebrating 20 years as Artistic Director of Birmingham Royal Ballet, David Bintley brings the company to London, where Balanchine’s Serenade acts as a delicate sorbet before the excesses of Bintley’s own Carmina burana.  

Chelsea Opera Group presents the strongest case imaginable for Massenet’s Le Roi de Lahore, with Michael Spyres, no less, as the King. 

How does Usher House stand up? Like the house, it doesn’t. Welsh National Opera's double bill based on The Fall of the House of Usher underwhelms.

The story of Hansel and Gretel is at least 200 years old – the Brothers Grimm, those avid collectors of German folklore, first published it in 1812. And this well-loved tale’s longevity is something that Garsington Opera’s new production draws attention to from the outset. During the overture, a group of shadowy figures drop pages from a book, which Hansel and Gretel collect with glee.

Director Alessandro Talevi’s imagination, wit and audacity meant that Don Giovanni, which has just launched Opera North’s new season, was a huge success. The production was enthralling throughout, never dragging or disappointing, even in the second act. It works much better than others I have seen, because the emphasis is placed firmly on the comic rather than the pathetic.

If I were to describe Janáček's late opera The Cunning Little Vixen as a bit of a one-off, I could be accused of severe understatement. It's the only opera in the mainstream repertoire to be based on a cartoon strip, it mixes animals and humans at will and it incorporates dance and mime routines, all against the backdrop of the setting of ancient forest so beloved by middle European romantics.

Queen of Spades began life as a sharp little ghost story by Alexander Pushkin, quite different in tone and spirit from the melodramatic adaptation by Modest Tchaikovsky, who wrote the libretto for his composer brother.

What clever scheduling by Opera North. In the centre of Leeds the snow is turning grey and slushy, the temperature is ridiculously low and it's dark before mid-afternoon, but inside The Grand Theatre it's a different story- a story which seems specifically designed to lift the winter blues.