En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Agnes Zwierko

Le fameux Ball im Savoy de 2013 fait son retour dans la mise en scène de Barrie Kosky mais aussi avec la distribution de l'époque, donnant lieu à des retrouvailles aussi réjouissantes qu'émouvantes.

Si la mise en scène de Willy Decker accuse son âge dans une production inégale, l'œuvre de Wagner bénéficie de l'incarnation parfaite de Ricarda Merbeth et de la direction inspirée d'Hannu Lintu.

Vor 25 Jahren feierte Andreas Homokis Inszenierung von Prokofjews Oper Premiere; in dieser Saison ist sie ein letztes Mal zu sehen. 

A dearth of nuance affects this new production of Verdi's late masterpiece in Berlin, set in Sir John's gourmet kitchen. 

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

Sorochyntsi Fair was last performed at Berlin's Komische Oper in 1948 by the legendary stage director Walter Felsenstein. Now Barrie Kosky, stage director and intendant, has tried his hand.

Laurent Pelly exploits the satirical side of Rimsky-Korsakov's The Golden Cockerel at La Monnaie in a darkly humorous but colourfully performed production.

Opéra de Montréal's belated première of Strauss' take on the Greek tragedy is worth the wait, as soprano Lise Lindstrom and wunderkind conductor Yannick Nézét-Séguin lead an exciting, music-driven production.

If “all the world’s a jest”, as Sir John Falstaff claims at the end of Verdi’s final operatic masterpiece, then we need players – and directors – with a sense of frivolity. Robert Carsen truly delivers. 

Kasper Holten’s production does an impressive job of exploring the concepts of Szymanowski's Król Roger – perhaps more psychologically than philosophically. It’s a production well worth exploring.

Tschaikowskis Oper ist lange in den Archiven verschwunden, doch das Ausgraben lohnt: Nicht nur für Freunde der russischen Opernliteratur oder Tschaikowski ein Genuss, und auf jeden Fall eine Erweiterung des musikalischen Horizontes.

At the end of the season, and before closing for the summer break, the Komische Oper Berlin reprise some of their most successful recent productions for one night only in the Komische Oper Festival, including the popular “cartoon” Magic Flute. Included in this busy week was a performance of Tchaikovsky’s Mazeppa, a rarely performed epic opera of battle-torn love and murder.

Most of Dvořák's ten operas are rarely performed, but Rusalka, his tragic fairy tale of the water nymph who takes human form, has become popular in recent years and is a regular visitor to British opera houses. Last night's production, by directors Jossi Wieler and Sergio Morabito, started life at the 2008 Salzburg festival and has now arrived in Covent Garden.