En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Thomas Blondelle

La synthèse de l’opéra romantique allemand, de l’opéra-comique français et de l’opera buffa italien qu’accomplit ce Liebesverbot en dit long à la fois sur les mutations de l’opéra d’alors, et sur le style propre, à défaut de l’esthétique, que Wagner développera par la suite. 

Herheim’s Fledermaus is a risky experiment that, miraculously, works – at least in a city that knows it so intimately.

The limitations of AI are demonstrated in Alvis Hermanis’ problematic new production of Salome at Latvian National Opera. 

An den Bregenzer Festspielen präsentiert Regisseur Philipp Stölzl eine radikale Aktualisierung des Klassikers, erreicht dabei aber eine Umdeutung des Stücks, die sich von Weber meilenweit entfernt.

Sir Simon Rattle and the LSO give an orchestral performance to remember, with a fine singing cast, but Simon McBurney's staging dials the bleakness to maximum too early.

Der langersehnte Herheim-Ring kann nun endlich mit einem aufschlussreichen und spannend erzählten Rheingold beginnen.

Deutsche Oper Berlin returns in rousing style with a pared-down, open-air Rheingold on its “Parkdeck”.

The passion of Alban Berg's music under Donald Runnicles fights against a disjointed production by Ole Anders Tandberg.

Peter Seiffert can still impress as Tristan, but Graham Vick's staging is uncertain and unconvincing. 

In L’Invisible, which had its première last weekend at the Deutsche Oper Berlin, Aribert Reimann has condensed three plays by Maeterlinck into bite-size chunks that vanish before they can be savoured.

Mismatching between programme and performers resulted in a disappointing evening of operatic all-time favourites.

Eric’s dream of a love story with no redemption in Christian Spuck's new production of Der fliegende Holländer at Deutsche Oper Berlin. 

Academy Award-winning actor Marion Cotillard's portrayal of Honegger's Joan of Arc was curious, exultant, yet unflinching. 

Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.

A strong cast headed by Peter Seiffert perform in this visually appealing Tannhäuser at the Deutsche Oper in Berlin, where Markus Brück excels as Wolfram and Petra Maria Schnitzer takes on the role of the temptress Venus and the saintly Elisabeth.

After his final opera, Falstaff (1893), Verdi founded a home for retired musicians. Director Christof Loy related these two achievements by setting the opera in the nursing home...

What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before. 

Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Christof Loy’s new production of Falstaff for the Deutsche Oper Berlin is a conundrum. While the opera itself tells a story of comeuppance, Loy’s production seemed to be about the positive physical effects of playing pranks on your neighbors.

In Act II of Tannhäuser, Hermann, Landgrave of Thuringia, sets the theme of the singing contest that is about to take place in his hall by asking: “Can you describe love’s nature to me?” To some extent, the entire opera is an examination of two very different answers to that question.