Rechercher des critiques de musique classique, opéra et ballet | Quinn Kelsey

Lumineuse et sensible, la Gilda d’Olga Peretyatko est la combinaison parfaite de la virtuosité belcantiste et du lyrisme verdien.

A new production of La Traviata, colorful and conventional, brings little new ideas but is a fine vehicle for a fine performance conducted by Yannick Nezet-Seguin that features a trio of excellent singers.

Netrebko met the audience’s high expectations, as she does every time, conquering the challenges with her remarkable artistry. 

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

Towering above all the other meritorious singers in this performance, was the phenomenal Georgian mezzo-soprano Anita Rachvelishvili 

The Lyric Opera’s new production of Rigoletto evokes visually the contours and high-contrast relief of a surrealist painting. 

If you love Verdi's inventive music, enjoy fabulous male voices in particular, and appreciate great opera conducting with exquisitely sensitive orchestral playing – then this Rigoletto is a must.

Oper Frankfurt's new production of Rigoletto focuses on the dark side of the tragedy with excellent singing from the two principals.

The Marx Brothers famously sent up Verdi's middle period masterpiece in A Night at the Opera and if Bösch doesn't exactly send up Trovatore's corrosive cocktail of infanticide, jealousy and vengeance, he undermines it with his staging.

Strong vocal talent rules the night, and a late moment of visual splendor caps off a serviceable reading of a battered warhorse.

Quinn Kelsey's Rigoletto is commanding, emotional and complex. His bass-baritone has all the qualities you could ask for – darkness and light.

Sonya Yoncheva brilliert in einer Inszenierung, die beweist, dass die Handlung von Verdis Oper über die Jahre nichts an Aktualität eingebüßt hat.

The Il trovatore on offer at the Lyric this month would make a fine CD, its vocal strengths to be found equally among the leading foursome, but its weaknesses are visual and dramaturgical, and these are plenty too.

Zeffirelli's La Bohème at the Met never fails to charm. Balance issues aside, a beautifully sung performance by a very capable cast.

Don Quichotte makes its Canadian Opera Company debut in triumphant fashion, offering an elegant visual feast in addition to a trio of magnificent, magnetic performances.

Last night’s opening of Christopher Alden’s allusive, conceptual Rigoletto for ENO, a co-production with Canadian Opera Company, was a notable event for London opera. Musically, ENO have been on top of their game this season and last night was no exception.

The new Traviata at the Lyric Opera is both hyper-traditional and, in moments, saucily modern. In broad strokes, it looks like many another Traviata that has come before, though a twinge of visual ambition goes past such clichés.

In an attempt to persuade Attila the Hun to spare Italy from the scorch and burn policy, the corrupt Roman general Ezio says, "Avrai tu l'universo, resti l'Italia a me," ("You can have the universe, but leave Italy for me").

The Canadian Opera Company’s second offering for its 2011-2012 season is Verdi’s ever-popular Rigoletto. It comes on the heels of Robert Carsen’s stunning production of Iphigenia in Tauris. In Carsen’s brilliant conception of the opera, everything works to produce a great night of opera By contrast in Christopher Alden’s production of Rigoletto just about nothing works.