En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Pavel Kudinov

Iolenta et Perséphone sublimées : vibrant hommage à la Lumière par l'Opéra de Lyon.

The problem with on-stage vulgarity is that, while it might be sophisticated and knowing satire, it ends by being what it is parodying.

The in-house orchestra played out of its skin under Fabio Luisi.

Ann Hallenberg shines in an amazing cast in a concert performance of Handel's Ottone in Vienna. 

Il Pomo d'Oro, junto a un elenco vocal de lujo, interpreta magistralmente Tamerlano de George Frideric Handel en el Auditorio Nacional.

Handel's Tartar-Ottoman drama Tamerlano gets a majestically beautiful, if not wildly dramatic, outing at the Barbican with Il Pomo d'Oro. 

Maxim Emelyanychev conducted the period orchestra Il Pomo d’Oro in Tamerlano at the Concertgebouw, an enjoyable performance of Handel's darkest opera. 

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence. 

Handel's Tamerlano seduces the Versailles Opéra audience in a concert performance.

Let’s be clear: this was a performance of the highest order. From the first five notes of the overture, the sixteen-member orchestra Armonia Aténéa led by George Petrou ravished the audience of the Salle Pleyel with Handel’s full splendour.

Institutional violence has been a running theme in Torsten Fischer’s series of Gluck operas at the Theater an der Wien, albeit with a lid kept firmly on the idea of actual conflict.

The venerable Viennese tradition of airing dirty operatic laundry in public found an unlikely proponent this season in the form of the Theater an der Wien’s mild-mannered director Roland Geyer, who, unhappy with William Friedkin’s production of The Tales of Hoffmann in March, abruptly sacked the American director and announced he would devise a new staging himself a matter of months before the sec

Ambroise Thomas’s Hamlet has riled and infuriated ever since its 1868 première, though for many it is merely an object of derision: one 1869 correspondent to the satirical magazine Punch admits not having seen the work but nevertheless disparages it as ‘Omelette’, a musical ‘burlesque’, and pillories Thomas’s fondness for drinking songs with the lines ‘To drink or not to drink? That is now the que