En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Camilla Nylund

Mis en scène par Kirsten Harms, Tannhäuser s'avère inégal. Se distinguent Ante Jerkunica (en Landgrave royal) et Camilla Nylund, formidable dans sa double interprétation de Venus/Elisabeth.

Malgré une grande Camilla Nylund dans les Quatre derniers lieder de Strauss, le concert de l'Orchestre National de France dans la basilique laisse sur sa faim.

À Berlin, la nouvelle production du Rosenkavalier par André Heller fait un sans-faute, portée par un casting cinq étoiles.

Reprise mitigée de l'opéra de Richard Strauss au Théâtre des Champs-Elysées : Olga Pudova, Camilla Nylund et Kate Lindsey tiennent le haut du pavé ; Katie Mitchell échoue à divertir.

Rusalka revient à l'Opéra de Paris dans la mise en scène de Robert Carsen, qui prône le réalisme au détriment du merveilleux. 

« More corn than gold », ironisait Irving Kolodin, à propos du compositeur viennois alors très en vue à Hollywood, mais tenu pour moins sérieux par la Neue Musik. La postérité n’aura donné que partiellement tort à ce critique à la dent dure, en n’exhumant que rarement l’œuvre de Korngold après la seconde guerre mondiale. 

Le samedi 30 janvier 2016, La Ville Morte de Korngold était programmée à l'Auditorium de la Maison de la Radio. Marzena Diakun dirigeait un Orchestre Philharmonique de Radio France en pleine forme et une distribution vocale dominée par Camilla Nylund. Un délice.

La mise en scène de Stefan Herheim scrute l’ambiguïté de la nymphe tchèque dans une éblouissante production.

Klaus Florian Vogt gibt ein vielbeachtetes Rollendebüt als Titelfigur, Generalmusikdirektor Gianandrea Noseda setzt seine italienische Wagner-Interpretation fort, und Regisseur Andreas Homoki bleibt dem problematischen Ansatz einer Deutungslosigkeit treu.

Christian Thielemann beweist einmal mehr, warum er als Spezialist für die Musik des deutschsprachigen Kulturraums zwischen 1850 und 1930 gilt.

A stellar production of Die Walküre premieres in Zurich, not far from the location where Richard Wagner composed it. 

In Yuval Sharons deutungsüberladener Inszenierung setzten Christian Thielemann am Pult sowie Klaus Florian Vogt als Lohengrin leuchtende Glanzpunkte.

Richard Strauss' sperrige Märchenoper bekam überzeugend lichtes Profil in Krzysztof Warlikowskis Inszenierung bei den Opernfestspielen.

Ungewöhnliche Bilder und außergewöhnliche Rollengestaltung durch Michael Volle finden auch in diesem Jahr frenetische Zustimmung.

An all-day Beethoven experience European style with both highs and lows: much diversity revealed and exploited but of variable quality.

Christian Thielemann bildet mit der Staatskapelle das ideale Fundament für eine musikalische Meisterleistung.

Christian Thielemann shows his lighter side, while the Berlin Philharmonic play music they haven't touched in nearly a century.

Although Damiano Michieletto's new production resembles an expensive drama workshop, it’s the marvellous performances that make this such a moving Jenůfa.

The catchy title of Ardent Desire signposted the Orchestra of Bavarian State Opera's latest Monday evening live streamed concert: two pieces of high Romanticism from Schubert and Strauss. 

Karina Canellakis steps in for Esa-Pekka Salonen to make an accomplished debut in Munich. 

Zu einem Triumph wurde die Rückkehr des einstigen Generalmusikdirektors Franz Welser-Möst; ebenfalls zurück kehrte die 30 Jahre alte Inszenierung von Harry Kupfer.

The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund.  Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.

Strauss-Versteher Christian Thielemann lädt am hundertsten Jahrestag der Welturaufführung zum musikalischen Träumen ein.

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Kosky’s production manages to maintain all hallmarks of a 16th-century fairy tale, while juxtaposing them with questions of deep human, political and artistic problems. Regietheater at its best.

Six excellent singers bring out the best in Wagner's dramatic narrative, marred only by a Ride of the Valkyries that fails to convince.

The outstanding trio of Nylund, Stemme and Herlitzius soars above a Vienna State Opera Orchestra in thunderous form, led by Christian Thielemann to celebrate the Staatsoper's 150th birthday in style.

Leading five choirs, fine soloists and a glowing Netherlands Philharmonic, conductor Marc Albrecht emphasised the human struggle in a highly dramatic performance of Mahler’s mammoth eighth symphony.

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

Christian Räth präsentiert eine enttäuschende Inszenierung von Webers romantischer Oper voller übertriebener Klischees.

Vienna State Opera offered a solid production in which precious little gleamed.

Jonas Kaufmann and Camilla Nylund tackle the roles of Tristan und Isolde for the first time in Andris Nelsons' all-Wagner concert. 

Camilla Nylund’s rich, ample voice bloomed in the glorious setting of the sonnet, cosseted by burnished horn playing, in Strauss' unsurpassed operatic farewell to the soprano voice.

Stefan Herheim's eagerly awaited production of Berg's Wozzeck distances us from the emotional heart of the tragedy by portraying the story as a hallucinatory death-room experience.

Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

Visually inconsistant but some mesmerising perfromances in Kirsten Harms' production. 

Die tote Stadt at the Vienna State Opera features strong playing and singing but little drama.

Not even the musical genius of Daniel Barenboim could turn Harry Kupfer’s irritating Sitzprobe production into a “Namenlose Freude”.

These two Manchester-based choirs formed a formidable partnership for one of the most gruelling choral works in the repertoire. The four soloists, however distinguished as individuals, produced mixed results.

Revival of a 2014 production of Rusalka in Vienna was a great success musically with a splendid cast headed by last minute replacement Camillal Nylund.

Sir Mark Elder led the Royal Concertgebouw Orchestra and an inspired team of soloists headed by Klaus Florian Vogt into a highly-charged performance of Lohengrin.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

City of Light: Paris 1900-1950 was the stimulus behind an evening of impressive performances of inspirational music by Ravel and Stravinsky.

Art installation of a biogas factory is the setting for a mostly undistinguished musical performance.

Conductor Yannick Nézet-Séguin invokes an unattainable glimpse of heaven in a uniquely crafted Verdi Requiem. 

Nobody puts Wagner in a corner: the Staatsoper’s new Lohengrin has some excellent qualities, but ultimately just needs more space. 

Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.