En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Veronica Simeoni

Carmen de Bizet revient à Rome dans le magnifique parc des thermes de Caracalla.

In a reduced concert performance of Il trovatore the drama unfolds with the force of music alone.

Maestro Myung-Whun Chung leads an almost all-Italian cast in an impressive performance of Verdi’s most ambiguous masterpiece.

Andreas Homoki’s new Zurich production capitalises on some quirky staging, but features superb voices in its principal roles and shows the best of the house’s joint choirs.

The hottest opera ticket in London this season sees Jonas Kaufmann and Anna Netrebko reunited on the Royal Opera House's stage for the first time since 2008. It was worth the wait. 

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

A sizeable contingent of curious musicologists and critics gathered for the Milan première. It was a gifted a performance with plenty of insights to offer.

An able cast sings in Christof Loy’s non-interventionist and insightful production of Verdi’s panoramic tragedy, conducted with vivid detail by Michele Mariotti.

Christian Spuck’s new ballet Messa da Requiem in Zurich, is a breathtakingly powerful achievement. But its profound impact is spurred by more than dance alone.

Visually traditional, this Norma often indulged on the most predictable aspects of Vincenzo Bellini’s opera, unfortunately missing the opportunity of bringing a bigger audience to the theatre and showcasing the vastness of Italian opera. 

Director Tatjana Gürbaca’s production of Aida in Zurich strictly underscores the psyche and emotional parrying of the principals.

Christof Loy's modern-dress production of Donizetti's Roberto Devereux for the Bayerische Staatsoper is deliciously, darkly ironic. A dream cast handles the dramatic and musical challenges well, though the voice of the star sounds worn for this star vehicle.

A rich showcase of bel canto Romantic tragedy, this renewal of the Giancarlo del Monaco production made a vehicle for insights into jealousy, conscience, and deviousness “on a Royal scale”.