En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mariusz Treliński

Pour la première fois représenté dans la capitale des Gaules, l'opéra virtuose de Richard Strauss bénéficie d'une extraordinaire interprétation musicale qui vient compenser les limites de la mise en scène.

L'opéra de Korngold se dévoile à La Monnaie dans une mise en scène grandiose de Mariusz Treliński, mêlant le cauchemar et la perversion à la tendresse et à la rédemption.

The first new Forza at the Met for nearly 30 years is lustily sung, led by Norwegian soprano, Lise Davidsen, and Igor Golovatenko as her vengeful brother. 

Llega al Palau de les Arts una producción procedente del Teatro Mariinsky de la última ópera compuesta por Tchaikovsky, Iolanta.

Elin Rombo shines in a co-production of King Roger with the Royal Swedish Opera and Teatr Wielki, in Warsaw

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

With a stunningly inventive and modern-sounding score, strong acting performances and a staging full of theatrical illusion and coherent in spite of general weirdness, Aix's Fiery Angel impresses.

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

Director Mariusz Treliński’s previous work at the Met, in conjunction with Boris Kudlicka’s sets and Bartek Macias’ videos, was a double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle.

Sir Simon and Berln Philharmonic triumphed in a thought-provoking production of Tristan und Isolde with a fine ensemble of singers.

The Met's première of Iolanta and Bluebeard's Castle, delayed by snow, opened with powerful singing and deeply effective staging. Iolanta showcased beautiful singing from the principals, while Bluebeard's Castle showed off brilliant playing by the Met Orchestra.

Polish director Mariusz Treliński puts a contemporary spin on Salome by retelling the story from a victim's point of view. 

Treliński’s de-romanticizing of the plot of Puccini's Manon Lescaut makes for a compelling piece of theatre… it’s just not Manon. 

A great post-war classic by Henze in a strong new production from Welsh National Opera.