En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Simone Piazzola

La mise en scène de Thaddeus Strassberger s'efforce d'en mettre plein la vue mais elle ne rend pas justice au drame de Verdi, tandis qu'Irina Lungu déçoit dans le rôle-titre.

Fallait-il condamner la simplicité de l’intrigue à tant de simplisme esthétique ? Retour sur Un bal masqué où l’expressivité, les nuances et l’ambiguïté seront à rechercher chez les interprètes. 

Is Roberto Devereux the finest of Donizetti's four Tudor operas? Stephen Langridge's stylish, stylised production and a wonderful cast under Riccardo Frizza make a great case for it. 

Young Egyptian-New Zealand soprano Amina Edris makes a great impression in a revival of Arin Arbus’ strong 2015 production.

Omer Meir Wellber conducts a spirited account of Verdi's early opera, semi-staged and live-streamed from the Teatro Massimo.

Livermore updates the scene to the 1930s, but seems to be setting Mussolini's Italians against invading Germans. 

Peter Steins Inszenierung spiegelt gekonnt ein Werk wider, in dem sich musikalische Schlichtheit und üppiger Klang abwechseln.

Monumentalidad y grandes voces encienden la nueva temporada del Teatro Real.

Mit Mut und jahrelanger Erfahrung stemmt die Wiener Staatsoper das Antiken-Spektatkel erfolgreich auf die Bühne.

Comedy fails to spark in Laurent Pelly's new production of Falstaff at the Teatro Real. 

On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.

In a dated production by Hans Neuenfels, conductor Giacomo Sagripanti leads a musically successful Trovatore, where Angela Meade and Anita Rachvelishvili show their vocal brilliance.

In this Verdi's popular work we find a paroxysm of affections that is consonant with Matteo Beltrami's energetic conducting.

A sizeable contingent of curious musicologists and critics gathered for the Milan première. It was a gifted a performance with plenty of insights to offer.

Jamie Barton stole the show in a lacklustre concert performance in Madrid.

Edita Gruberová stand nicht nur in der Rolle der Elisabetta I. auf der Bühne, sondern auch als Königin des Belcanto-Faches, das sie in ihrer beeindruckenden Karriere über Jahrzehnte regiert hat.

Were it not for a sterling musical display, built on the shoulders of bass Ferruccio Furlanetto and conductor Myung-whun Chung, this could have been a very long night indeed.

Time honoured tradition has it that the pianist in a song recital plays the supporting role, hence the slightly derogatory term “accompanist”. Someone forgot to share that script with Giuseppe Vaccaro.

Visually this production fully rendered the opera's atmosphere. The director was good at encompassing the private stories and emotions of the three main characters into a broader context, dominated by Fate.

Berlins dritte Traviata wartet trotz Besetzungsänderung mit meisterlicher Klangkunst auf.

At the Dutch National Opera, director Àlex Ollé from La Fura dels Baus stages a dark and monochromatic Trovatore, in which the four stars shine.

Better conducting and supertitles would also help breathe life into this drab revival of Bayerische Staatsoper's Don Carlo.

Mario Martone's Cavalleria rusticana—Pagliacci returns to La Scala, with results that do not always convince. 

Martin Kušej's production of La forza del destino is hard hitting and intelligent: an imperfect orchestral performance is more than compensated for by an outstanding cast of singers.

Director Michal Znaniecki sets the action of Verdi's popular Il trovatore in an indeterminate 20th century wartime, undecidedly trying to mix up visual suggestions and primeval anguish

Andrea De Rosa’s atmospheric production of Simon Boccanegra uses a series of landscapes projected onto a cyclorama to evoke the Gulf of Genoa.