En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Bruno Ravella

La mise en scène de Bruno Ravella comme la direction musicale de Laurent Campellone et la distribution ne parviennent à saisir que de manière intermittent le ton singulier de l'ouvrage de Massenet.

L'opéra méconnu de Verdi bénéficie d'une belle direction musicale, d'une mise en scène parfaitement lisible et d'une distribution convaincante.

L’Opéra Orchestre National Montpellier rouvre ses portes au public le 20 mai pour une production de Werther singulière, avec un orchestre investissant tout le parterre de l'Opéra Comédie !

La nouvelle production de l’Opéra National de Lorraine à Nancy transforme Pâris en James Bond, non sans succès.

Présenté dans une remarquable production de l'Opéra national de Lorraine, Werther est servi sur un plateau d'argent à Québec par une distribution entièrement francophone. 

Edgaras Montvidas et Stéphanie d’Oustrac rayonnent dans les premiers rôles, entourés de seconds tout à fait à la hauteur.

New Zealand Opera's new production impresses with its stunning set design and art direction, and its restrained emotional tone. 

Bruno Ravella's effective production was seen in Wexford in its original 1822 version, but Donizetti Opera opts for the composer's 1824 revision, throwing the spotlight onto Cecilia Molinari's excellent Abenamet. 

Bruno Ravella's production features excellent singing from its principals in Dublin, but it is Sinéad Campbell-Wallace who shines as the eponymous heroine. 

A terrific cast of principal singers lead by soprano Claudia Boyle, coupled with compelling direction from Bruno Ravella make for an exhilarating operatic experience in Donizetti's Zoraida de Granata. 

An excellent singing cast combine with Bruno Ravella's sensitive direction and brilliant orchestral playing to bring to life Strauss' heady mix of farce and high art.

Outstanding singing from a beautifully chosen cast led by Miah Persson and Hanna Hipp. 

Robert Carsen's riotous production of Rinaldo returns to the Sussex Downs, a schoolboy fantasy colliding crusading knights with St Trinian's bad girls. 

Bruno Ravella's fast-paced Falstaff for Garsington still has crucial space for pathos amid the comedy, with a notably subtle central performance from Henry Waddington.  

In Nicholas Hytner's chocolate box production, lovingly revived by Bruno Ravella for Glyndebourne's tour, Alfonso is the most charismatic character on the stage.

Iford's stone cloister makes a suitably eerie setting for a fine traditional account of Verdi's Macbeth, notable for its powerful male leads, from Iford Festival Opera and the CHROMA Ensemble.

Benjie del Rosario ignites a thrilling Pagliacci, while Cavalleria rusticana is potentially as good but marred by intelligibility and balance issues.

Bruno Ravella’s revival of David McVicar’s production of Faust, doing the rounds of Australia’s major opera companies, is currently inspiring Adelaidians with masterful performances by State Opera of South Australia.

Bruno Ravella's version of Handel's Agrippina moves the action from Classical Rome to the avaricious Eighties in a sharp, amusing night at Iford.  

At Garsington Opera, Richard Strauss' Intermezzo presents an utterly compelling picture of a mature marriage with its joys and trials; Mary Dunleavy brings it to life with a top class piece of acting.

David McVicar's production of Faust enjoys one of the strongest overall performances of Opera Australia in recent times.

What do you go to the opera for? The question has a thousand answers, but if you’re going to Mozart’s Marriage of Figaro, the chances are that you’re expecting some frothy romantic comedy, some elegant music and a bunch of tunes that will stay in your head when the show is over.

Glyndebourne has a great track record with staging Handel’s works. In recent years, there have been great productions of Theodora, Rodelinda and Giulio Cesare, all of which have proved equally popular at subsequent revival and Glyndebourne on Tour (GTO) productions as well.

Mozart's La Clemenza Di Tito was written in the last year of his life around the same time as Die Zauberflöte, the Clarinet Concerto and the Requiem, when Mozart was at the height of his powers.