En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Douglas Boyd

À l'occasion d'un week-end consacré à la Syrie, la Philharmonie de Paris propose un concert intitulé « Chants d'Alep », entre chants traditionnels et compositions de Fawaz Baker, avec l'Orchestre de chambre de Paris.

Soirée-anniversaire des quarante ans de l’Orchestre de chambre de Paris, ce mercredi au Théâtre des Champs-Élysées. Une programmation curieuse... jusqu'à la joyeuse surprise conclusive.

Hier soir, l’Orchestre de Chambre de Paris s’est trouvé de bien beaux partenaires... Rarement un concert aura montré à ce point que la musique est mouvement, action dramatique et souffle vital !

Le Festival de Radio France de Montpellier a offert un concert autour de Felix Mendelssohn justement intime et vibrant. 

Programme réjouissant que celui tourné par l’Orchestre de Chambre de Paris avec Douglas Boyd et leur invité, Viktoria Mullova. Ce soir, les 43 musiciens permanents de l’ensemble nous offrent deux symphonies de Schubert, couplées pour l’occasion au Concerto pour violon de Sibelius. Approche intimiste, sans alibi, sublimée par l’enthousiasme des musiciens.

Douglas Boyd dirigeait l’Orchestre de Chambre de Paris dans un Messie de belle tenue à la Philharmonie de Paris. On y était.

Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.

Jack Furness directs a terrific new Queen of Spades at Garsington – haunting and harrowing. 

In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 

Come for the shave, stay for the comedy. Christopher Luscombe's new production of Rossini's beloved opera buffa avoids overcomplicating the plot, letting the work's humour and the abilities of the principals shine. 

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

The Philharmonia and Garsington Chorus deliver great performances, as do Natalia Tanasii and Fleur Barron as the two Larina sisters.

The Scottish Chamber Orchestra and Douglas Boyd offer colour, energy and sparkle while Steven Osborne demonstrates a sure touch in one of his favourite concertos.

La Orquesta Sinfónica de Oporto bajo la precisa e intensa dirección de Douglas Boyd ofreció un estimulante concierto con obras de Mendelssohn y contó además con la interpretación de la joven solista Diana Tishchenko.

Peter Mumford's intelligent staging concept and a knockout performance by a reduced Philharmonia Orchestra made this a night to remember.

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

Considered Mozart and volcanic Schubert in a Viennese programme at the Royal Festival Hall.

An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.

A slick production from the Garsington Opera Company, who use the location of the Wormley Estate to their full advantage. 

A verdant and heavenly setting for The Creation

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

For the opening concert of the 2015-2016 season, the Musikkollegium Winterthur drew together an unusual mix of repertoire: Felix Mendelssohn and Fazil Say.

Garsington’s first collaboration with the Royal Shakespeare Company married an abridgement of Shakespeare’s play with Mendelssohn’s incidental music, a union which promised much but which stumbled awkwardly.

Weddings bring out the cynic in me. They also bring out the cynic in Don Alfonso and it’s at a wedding breakfast that John Fulljames sets his production of Così fan tutte. 

Garsington Opera takes a comedic approach to Beethoven's Fidelio. The result is amusing and musically strong, but lacking in both dynamic staging and emotional depth.

This new production of Mozart’s final, and often overlooked, opera from John Fulljames and Opera North is neither a period piece nor a straightforward translation into our own time. Instead, it inhabits it own dark and austere world created by set designer Conor Murphy and Finn Ross, whose stylish abstract projections incorporate elements of government buildings both ancient and modern.

It was a year ago at the Jane Mallett Theatre when the 24-year-old French pianist Lise de la Salle made her Toronto debut in a solo recital of Debussy, Liszt and Ravel. That recital was a sensation and left lasting impression in the hearts of many Torontonians.