Rechercher des critiques de musique classique, opéra et ballet | Michael Sumuel

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

A novel venue provided the unusual setting for an engaging and impressive performance by the Multi-Story Orchestr and Multi-Story Youth Choir of music by JS Bach, Kate Whitley and John Adams.

Dangling and turning like shards of a giant overhead chandelier in Don Giovanni’s banquet hall, this is an evocative multimedia production that tantalizes the senses while shining new light on Mozart's genius. 

With his first foray into Rossini, Norwegian director Stefan Herheim turns La Cenerentola into a brilliantly funny spectacle, filled with thought provoking humour and outstanding singing.

“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.

Calixto Bieito’s production of Georges Bizet’s Carmen isn't without controversy. San Francisco Opera gave us raw sexuality unvarnished by any degree of social refinement.

The Rape of Lucretia may be something of a problem piece, but Fiona Shaw's production is an excellent piece of ensemble theatre set around some very fine performances of music of rare beauty.

This production's consistent visual beauty forms the setting for this Don’s musical approach. It is a testament to this ensemble that Mariusz Kwiecień can’t steal the show in spite of his utterly commanding physical and vocal presence as the Don.

“A revival of a revival of a revival” might describe Handel’s practice of reviving his own works. This highly acclaimed revival production of Handel's Xerxes received it best performance to date with a star-studded cast.Xerxes tells the tale of two brothers, Xerxes and Arsamenes, both competing for the same bride – Romilda.