En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jonathan Kent

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek. 

In a face-off between Gabriele Viviani's Scarpia and Malin Byström’s Tosca in this solid revival of Jonathan Kent's 2006 production, there could only be one winner

A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way. 

The ninth revival of Jonathan Kent’s production features a great Act 1 and enjoyable Covent Garden role debuts for the three top singers, but misses the mark on the set pieces.

Kent's staging brings out the sleaze in Puccini's first big hit; Sondra Radvanovsky thrills in the title role; the musical performance improves through the evening.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

A clumsily directed, poorly sung Tosca at the ROH made for a dispiriting evening. 

Enjôleur, irréel et effrayant, doté d'une solide distribution de jeunes chanteurs : difficile d'imaginer un meilleur Tour d'écrou que celui de la version de Jonathan Kent à Glyndebourne, redonnée par Francesca Gilpin à l'occasion de leur tournée 2014.

Jonathan Kent claims one of the great difficulties of Mozart-Da Ponte’s 1787 dramma giocoso is ‘the collision of an extraordinary variety of music and mood within it’

The Royal Opera House revives Jonathan Kent's traditional production, but with a crucial lack of magnetism between hero and heroine, Puccini's taut thriller feels somewhat muzzled.

Few operas are as specific in time and place as Puccini's Tosca: the date is 17th June, 1800, shortly after the battle of Marengo (in which Napoleon Bonaparte wrested control of Northern Italy from Austria), while each of the three acts is located in a specific landmark in Rome: the church of Sant'Andrea della Valle, the Palazzo Farnese and the Castel Sant'Angelo.

Of the various possible ways of conducting Wagner's Flying Dutchman, ENO's Edward Gardner took the direct approach. From the first tremolo string notes, the orchestra launched into the main leitmotif at full tilt, followed by the sound of stormy seas swirling more furiously than you've ever heard them, leaving the audience breathless.

Once upon a time, an Emperor was hunting when his red falcon caught a white gazelle. As he grasped the animal, it transformed into a beautiful princess in his arms and they fell in love. She was the daughter of Keikobad, the King of the spirit world, a woman of such translucent beauty that she cast no shadow, but she lived under a curse...

Ever since the Royal Opera House announced that two performances of its summer revival of Jonathan Kent's production of Tosca would feature an all-star cast, opera lovers all over the world have been desperately trying to get their hands on a golden ticket.