En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Aleksandra Kurzak

Dans la mise en scène de Warlikowski créée en 2017, Don Carlo est de retour à Bastille, cette fois-ci dans sa version italienne. Une franche réussite malgré l'état grippal de Roberto Alagna.    

Au Concert de Paris, les stars de la musique classique se sont succédées devant les caméras de télévision, sous la Tour Eiffel. Pour de beaux moments, malgré la lourdeur des paillettes du 14 juillet.

À l'Opéra Bastille, le retour de la mise en scène d'Andrei Serban produit un Otello mitigé, où l'étincelante Aleksandra Kurzak répond à un Roberto Alagna défaillant.

Retour de La Traviata à l'Opéra Bastille, dans la mise en scène de Benoît Jacquot. Aleksandra Kurzak et Jean-François Borras portent cette production du célèbre opéra de Verdi.

Cette reprise de Falstaff fait la part belle à l’esprit buffa et donne à Bryn Terfel une nouvelle occasion de briller dans un rôle qui lui sied à merveille.

Carmen dans la mise en scène de Calixto Bieto, présentée actuellement à l'Opéra Bastille, dépeint une héroïne victime du machisme et d'un certain ordre moral conservateur, tout en affirmant sa nécessité d'indépendance et la légimité de ses désirs de liberté.

Le pétillant opera buffa de Donizetti revient à l'Opéra de Paris dans une savoureuse mise en scène de Laurent Pelly, porté par une distribution de rêve. On y était. 

Une guerre politique à laquelle se superpose une rivalité amoureuse, Robert Dudley, comte de Leicester étant aimé des deux femmes.

Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.

Roberto Alagna, Aleksandra Kurzak und Dalibor Jenis bringen frischen Wind in Christine Mielitz' Inszenierung an der Wiener Staatsoper.

Zwei Verismo-Klassiker, die sich nach kurzfristigen Umbesetzungen auf unterschiedlichem Niveau präsentierten, wurden von Roberto Alagna in Höchstform zusammengehalten. 

David McVicar's uninspiring Cavalleria rusticana remains problematic, but a strong Pagliacci leaves the New York audience gasping. 

Marble and solitude: Willy Decker's view of La clemenza di Tito is revived with a strong cast at L'Opéra de Paris.

An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.

This was meant to be Pretty Yende's night, but it was Armenian tenor Liparit Avetisyan who stole hearts as country bumpkin Nemorino. 

Die Bayerische Staatsoper eröffnet mit einer etwas handzahmen Inszenierung vom Fromental Halévys La Juive die Opernfestspiele 2016.

A new cast arrives for Katie Mitchell's gothic Lucia di Lammermoor – and, despite caveats about the staging, deliver some excellent performances. 

A revival of Donizetti’s L’elisir d’amore at the Met, where Vittorio Grigolo's Nemorino happily ignores most of Bartless Sher's subtexts. 

In Donizetti’s most popular comic opera, the great mix of slapstick buffa and an obtuse venue make up the stuffs of what audiences continue to love. 

Aleksandra Kurzak delivers a top drawer performance as Fiorilla, leading a star-studded cast as Evelino Pidò gives us a lesson in how to conduct Rossini in the latest revival of Il turco in Italia.

The Met's holiday special, Hänsel und Gretel, is a treat not only for young children but for adults with its sophisticated music, excellent singing ensemble and orchestra playing, as well as its witty production.

Donizetti's La Fille du régiment brings much needed joy to the Teatro Real, with Javier Camarena's astonishing voice and Aleksandra Kurzak's unapologetic tomboy mesmerising the audience.

A prelude that was pedestrian rather than portentous signalled Maurizio Benini’s approach to Rigoletto: Verdi as aural Ovaltine, tucked up in cosy dressing gown and slippers.

The singing is strong and the stagework slick in Laurent Pelly's rib-tickling, often uproarious production of Le Comte Ory.

The Deutsche Oper's vintage production of Lucia di Lammermoor is fabulously eerie and strongly performed. 

I thought it ironic to hear people saying that the Met’s recent production of Two Boys was already outdated because of its ten-year-old subject: Internet chatrooms.

Take one hapless but lovable hero, one capricious but ultimately vulnerable heroine, a doctor and an army officer straight out of commedia dell’arte, a couple of basso buffo patter songs, at least one memorable romantic ballad, and stir the lot into a good lashing of boisterous Italian music with a sprinkling of furtive tears.

The Metropolitan Opera’s Live in HD simulcasts to movie theaters all over the world have been one of the biggest stories in the opera world in recent years and an undoubted hit with opera fans. Whether the program’s audience-building potential is commensurate with its box office hauls, however, is still a matter of debate.

The San Francisco Opera, one of the big American houses that has exhibited commendable fiscal resourcefulness while maintaining its artistic standards, selected a conservative opener for its 90th season with a revival of its de Chirico-inspired production of Rigoletto.

There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.

Rossini's The Barber of Seville has been his most enduringly well-loved opera. It's in the top ten of operas performed worldwide today, and it has stayed at the top of the most-played lists even when many of his other works were little played.