En direct, Vidéo: 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.

Three major Metropolitan Opera debuts bring excitement and vocal glamour to this revival of Bartlett Sher's Rigoletto production.

Katharina Thalbach offers a traditional staging at the Semperoper, with fine vocal performances led by Krassimira Stoyanova, Francesco Meli and Oksana Volkova. 

Verdi's Rigoletto in Weimar Germany? A half-baked concept, but Bartlett Sher's new production is certainly dramatic and it is gorgeously sung. 

Gianandrea Noseda takes his post as general music director at the Opernhaus Zurich leading a great cast in Adele Thomas' successful new production. 

Angela Meade fills in for an indisposed soprano in Los Angeles Opera’s company debut of Donizetti’s Roberto Devereux.

Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.

This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.

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.

An outstanding Azucena and solid vocal and orchestral performances more than make up for David Bösch's unappealing staging.

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.

Even us Verdi enthusiasts experience something of a heavy tread as we wend our way to yet another Traviata at the Royal Opera House.

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.

Read our review of Franco Zeffirelli's production of Puccini's La Bohème in its 2008 broadcast from the Met Opera in New York.