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

Belle reprise de La Khovantchina à l'Opéra Bastille, où triomphent les forces de la maison, mais aussi Anita Rachvelishvili !

The first of four Rachmaninov anniversary concerts shared by Zurich’s two fine orchestras is an audio feast, climaxing with the choral symphony, The Bells. 

Kirill Serebrennikov inszeniert Schostakowitschs Oper als Polit-Revue und setzt damit richtungsweisende Akzente für die kommende Spielzeit unter dem neuen Intendanten Serge Dorny.

François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.

In Khovanshchina, even more so than in Boris Godunov, the chorus is the chief protagonist and the La Scala chorus was truly astonishing.

Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.

Benjamin Reiners schafft mit einem herausragenden Orchester und Sängerensemble einen unvergleichliches Hör- und Seherlebnis.

Harry Kupfer's vivid and enlightening production came alive by soprano Anja Kampe's courageous performance and by conductor Oksana Lyniv's briliant direction.

In Tarkovsky's venerable production, the Mariinsky orchestra and chorus are brilliant – but too brilliant for their soloists, including two replacement Borises for an indisposed Mikhail Petrenko.

Se representa en el Teatro Real El gallo de oro, un trabajo insólitamente crítico para su época, en una produccion que, gracias a la conjunción de elementos, destila magia, calidad artística y un toque ácido de presente.

The Stockholm Concert Hall hosts the Göteborg Symphonic Orchestra and Opera Chorus for a concert performance of Mussorgsky's Boris Godunov.

Kirill Petrenko und Harry Kupfer haben mit Schostakowitschs Lady Macbeth von Mzensk neue Maßstäbe an der Bayerischen Staatsoper gesetzt.

The Lyric Opera put together the best-sounding première of the year so far, in which singers, chorus and the orchestra all began with astonishing confidence and only improved from there.

The bells of Mussorgsky, Rachmaninov and Pärt resound and reverberate in The Main Hall of the Concertgebouw.

Strauss’ Die Frau Ohne Schatten is perhaps his most problematic opera, in that it contains all that is best and worst in him, to the most maddening degrees.

Valery Gergiev 's right hand flutters and shimmers. From a distance, the gesture seems unreadable. But, as one member of the LSO told me, "We don't understand how he communicates. But we always know what he wants us to do."There was a time when Gergiev's appearances in London were rare. Each concert was a revelation and a sensation.