En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Lucy Schaufer

L'œuvre de Berg était présentée pour la première fois en Principauté, avec une distribution efficace et une mise en scène fascinante signée Michel Fau.

L'ouvrage lyrique méconnu de Kurt Weill bénéficie d'une distribution américaine inspirée, d'une mise en scène agréablement surprenante et d'un excellent Orchestre Philharmonique de Monte-Carlo.

The new opera by Missy Mazzoli and Royce Vavrek draws on cult mindsets and conspiracy theories but smartly avoids sensationalism. 

A two-week Ralph Vaughan Williams retrospective closed with his gentle, folksy spin on Shakespeare's Merry Wives of Windsor.

In a setting that might be The Grange itself, a production which steadily tightens its grip until a blistering finish.

It’s a risky business to describe comic nuance or timing, so please take my word that these qualities were as pitch-perfect as the vocal prowess on display.

Composer-librettist Adamo does full justice to Louisa May Alcott's 19th-century bestseller, one of the most widely read works in American literature.

A compelling treatment of a richly ambiguous work, one that invited us into the drama.

The Linbury re-opens its doors to opera with a new work whose libretto is superbly crafted by Francesca Simon, featuring a tour de force performance by Marta Fontanals-Simmons as the Norse goddess Hel.

Venables conceived a wealth of acoustic and visual components that constantly overlap and interact.

Weill's neglected "American Opera" opens in Madrid with a refurbished production by John Fulljames and a strong cast led by Patricia Racette.

Jake Heggie's story of redemption captivated the Teatro Real audience thanks to a solid cast and an effective production

A period-perfect Albert Herring from Francis Matthews for Buxton International Festival takes time to settle into its stride, but provides plenty of laughs along the way. 

There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice. 

Philip Venables' 4.48 Psychosis is the first musical adaptation of the eponymous play by Sarah Kane, which is the culmination of a three-year programme run jointly by the Royal Opera and Guildhall School of Music and Drama.

Marking 25 years since the death of Leonard Bernstein, Prom 67 celebrated his writing for stage and screen in a lively and colourful performance by the John Wilson Orchestra.

Flight represents a brave new departure for Opera Holland Park, the first contemporary opera to take to its main stage, in a striking staging with top quality musical performances. 

Director Trevore Ross emphasized the silly and the madcap in Beaumarchais’ hectic plot to The Barber of Seville. The audience loved it. 

A triumph for Los Angeles Opera's new production of John Corigliano's The Ghosts of Versailles.

Full of physical comedy, joyous and enthusiastic, Fiona Shaw's vision of Mozart's The Marriage of Figaro makes the most of its taut and energetic plotlines, intense charactisation and beautifully balanced music. 

A suitably rustic account of Janáček’s tale: seductive, engaging, and with a sense of intimacy ideal for this small venue.

Sometimes in a performance there is a moment when everything just comes together; when every element on stage is operating at such a high level that the performance transcends these elements and causes one to become so immersed in the proceedings that you forget you’re at a performance at all.

While there’s no reason that a children’s opera should be simple or easy, there’s no real need for it to be difficult either. So I was a little confused going into the Barbican’s performance of Oliver Knussen’s brilliant brace of Maurice Sendak adaptations this Saturday, which was surrounded, despite the works’ subject matter, with a slightly unbecoming aura of seriousness.

Hijacking, murder and terror on the high seas: you might expect that The Death of Klinghoffer, John Adams's 1991 opera about the Palestinian hijacking of the cruise liner Achille Lauro has all the makings of a pot-boiling thriller. But you would be wrong: Adams and his librettist Alice Goodman have other fish to fry.

What’s the connection between Harry Potter and Mozart? Fiona Shaw is perhaps best known these days as the boy wizard’s Aunt Petunia – or our greatest classical actress for those with longer memories.