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

Mis en scène par Laurent Pelly, Don Pasquale de Donizetti est présenté à La Monnaie : une machinerie réglée au millimètre près, sur la fabuleuse vis comica d’une musique extraordinairement efficace.

David Bösch gelingt es, die Typenkomödie bruchlos zu einem Drama von heute zu gestalten.

A uniformly excellent ensemble enlivens the Royal Opera House's latest Bohème revival.

Matthew Aucoin’s Eurydice enjoys its world premiere at LA Opera. 

Carsen's modern mise en scène of Handel's opera did not stand out for originality, but for finesse and elegance and that was substantially appreciated by the audience.

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

A committed cast make this  a beautifully performed ensemble piece in which the tragedy of young love cut short by untimely disease is compellingly put across.

Cast and choir snaked and kicked their legs through the aisles of the hall – picking up audience members along the way – leading to a riotous on-stage dance.

Glyndebourne's annual performance at the Proms proves dramatically untraditional but musically solid.

Annabel Arden's new production, although decently sung and visually striking, is seriously under-directed, allowing forced acting to blunt the humour.

Robert Carsen inszeniert Händels Agrippina als köstliche Sex & Crime-Komödie mit Tempo, Witz und italienischer Eleganz.

It is the fusion of textures and styles coming from the pit that gives Bel Canto a memorable musical profile.

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

Sultry Spanish rhythms and bawdy humour are counterbalanced by Gallic charm in the return to Glyndebourne of Laurent Pelly’s productions of L’Heure espagnole and L’Enfant et les sortilèges. Danielle de Niese joined a largely Francophone cast to ensure this joyous revival fizzed.

Only the slightest of quibbles with a fun, frothy new production of The Merry Widow at The Met. 

After a six week hiatus, the Metropolitan Opera's new Le nozze di Figaro has returned, with a new cast and conductor.

Director Christopher Alden's charming Partenope slinks its Surrealist way into San Francisco.

Richard Eyre’s witty direction may weight Figaro too heavily towards bedroom farce than satirical drama, but with sparky acting it’s difficult not to be won over. 

The wait was long between James Levine’s 2,442nd and 2,443rd performances at the Metropolitan Opera, but it was worth it. What’s more, Lesley Koenig’s 1996 production of Così wears its age well.

The Australian Chamber Orchestra, known both for its innovative programming and for the tightness of the ensemble playing, displayed both qualities on Saturday night, the second stop in a five-city, nine-concert tour.

Danielle de Niese, the much-marketed new star of the opera world, has been performing at the Met in The Enchanted Island this week, and came downtown on a night off this Monday to promote her new album of Baroque arias. A packed house filled (Le) Poisson Rouge, a club popular for both classical and mainstream artists, despite its unsuited acoustic.

Read our review of Phelim McDermott's production of The Enchanted Island by Jeremy Sams in its 2008 broadcast from the Met Opera in New York.

Nikolaus Harnoncourt is the elder statesman of the historical performance movement and one of the pillars of Vienna’s musical scene.

Read our review of Mark Morris' production of Gluck­'s Orfeo ed Euridice in its 2009 broadcast from the Met Opera in New York.