En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Margarita Gritskova

Le chef de l'Ensemble Matheus dirige une Italienne à Alger pleine de verve et de fantaisie, et donne à cette version de concert l'entrain irrésistible d'une représentation scénique. 

Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

A single performance of Rossini's Cinderella story in Launceston, Tasmania was an unmitigated delight, with a sparkling cast of international performers.

During the “Salce” and “Ave Maria” in Act Four Bezsmertna turned this to magical effect, thinning out and floating her shimmering soprano into gossamer threads.

A solid cast led by Juan Diego Flórez revives Günther Rennert’s production, which still amuses after more than 400 performances. 

Zurich Opera stages Tatjana Gürbaca’s production of Mozart’s La finta giardiniera. True to the opera buffa genre, it teems with silliness.

German theatre director Uwe Eric Laufenberg freely incorporates some of Stanley Kubrik’s horror story concepts into his Elektra, but in ignoring both Sophocles and Strauss, is a long way from shining.  

Baroque purists might prefer a more surefire line-up of brilliantly executed arias, but the theatrical framework of Adrian Noble's Alcina production offers a great deal.

Any production of Le nozze di Figaro in which both Marcellina and Barbarina give star performances is ensemble casting at its finest.

A neglected work in Hungary, Idomeneo receives an intense performance under the baton of György Vashegyi.

Jürgen Flimm takes so many liberties with Mozart’s La clemenza it should be re-titled “Tito’s Lament”.

The applause and screams at the premiere were raucously frenetic – and while the hysteria seemed a bit exaggerated, an energetically positive reception was completely justified.

It took Vienna State Opera almost 90 years to present Leos Janacek's Věc Makropulos, but in Peter Stein's production, it was worth the wait.

In Vienna State Opera's new production of Rigoletto, director Pierre Audi brings us close to a Rigoletto less freakish, more identifiably everyday. 

Große Stimmen, große Emotionen und nur kleine Irritationen: Das Wiener Staatsopernpublikum feiert Anna Netrebko, Luca Pisaroni und Celso Albelo in der Wiederaufnahme von Anna Bolena.

Love and death are the two basic ingredients of the standard opera plot, and the more tragedy involved from the first to the last, the more likely it is to spur composers to set it to magnificent music. Andrea Chénier is a textbook example of this although it is not anywhere near as popular as La traviata, Carmen or La bohème, and explicably so.

What has made Rossini and his librettist Jacopo Ferretti’s take on Cinderella survive on the opera stage for almost 200 years now is not only the universal archetype of the downtrodden girl who is redeemed by Prince Charming, nor its enchanting music: the absence of fairy-tale symbols like the pumpkin carriage and the glass shoe (barefoot ladies would have been too outrageous a sight on an Italian