En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Robert Murray

Malgré d'excellents Talens Lyriques, cette Passion mise en scène par Calixto Bieito s'avère plutôt convenue et ne renouvelle guère l’approche de l’œuvre.

Le splendide oratorio de Mendelssohn était donné pour la première fois dans la Principauté. Retour sur une soirée pleine de succès – malgré les faiblesses du rôle-titre.

Grand spécialiste du baroque allemand, Masaaki Suzuki est très attentif à son Orchestra of the Age of Enlightenment en petite forme. Robert Murray se distingue dans une distribution de qualité.

Une soirée haute en couleurs portées par des interprètes de grand talent pour fêter Noël.

Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.

Isabella Bywater directs an evocative new production of Britten’s ghost opera, well performed at the Coliseum. 

A superb orchestral performance from Paul Agnew and The English Concert lights up a breezy and fun staging of Rameau's ballet bouffon.

The London Handel Festival offers a chance to hear rarely performed music for Passiontide, with Harry Bicket conducting the English Concert. 

Robert Murray excels as the eponymous king in the opera seria that cemented the 14-year old Mozart’s position as the next big thing. 

Marie-Eve Signeyrole versucht mit Live-Videos und einer Juxtaposition von Sex, Gewalt und Klimathemen Händels Oratorium in die Gegenwart zu hieven.

When done as well as this, a "concert staging" is not oxymoronic, but a precise term for a valuable mode of presentation.

With a powerful but not world-beating team of soloists, Gardner and the LPO tackle Schoenberg's sprawling cantata with aplomb – except for one near-catastrophic misstep.

Louisa Muller returns to revive her 2019 production, preserving the ambiguity – did the Governess see these things or imagine them? 

Ullmann's one act opera, written in the concentration camp at Terezin, receives a powerful performance from the BBC Symphony Orchestra.

Under director Annabelle Comyn’s modern setting, we have a moving, convincing Fidelio to resonate with our current age.  

An incandescent concert performance of Tippett’s The Midsummer Marriage launches a new era for the London Philharmonic under principal conductor Edward Gardner.

When the pandemic struck and theatres were locked down, OperaGlass Works' staging of The Turn of the Screw was an early casualty. Creative thinking turned the production into a film, with London's oldest music hall the set. 

Robert Murray is the standout performer in a night of waltzes and numbers from operetta.

Barry goes for out-weirding Carroll at a fast and furious pace. There's plenty of fun and it's beautifully staged – but is that enough?

Aurora Orchestra prove too muscular for accompanying voices in Wigmore Hall, but Stephenson's setting of Rimbaud's poetry is impressive.

London Philharmonic Orchestra and Choir paint a terrifying picture of hell and damnation at the Royal Festival Hall.

A classy and charming adventure through Gilbert & Sullivan with the OAE and John Wilson .

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

Berlioz was well served in a performance that rose to heights of inspiring dignity and devotional beauty.

With a semi-staged production, directed by Benjamin Davis, the Mahler Chamber Orchestra has also been bringing George Benjamin's opera to concert hall audiences.

Die Dreiecksbeziehung mit tragischem Ausgang wurde von einem vollblütigen Sängerensemble und dem außergewöhnlich engagiert spielenden Mahler Chamber Orchestra getragen.

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

A compelling and energetic debut production from a new opera company in the raddled surroundings of Wilton's Music Hall.

Stuart Skelton’s visceral Peter Grimes is matched by a strong cast with thrilling playing and singing from the Bergen Philharmonic Orchestra under Edward Gardner.

Under Sir Simon Rattle’s baton, Andrew Norman’s children’s opera struggles to find either terrene or otherworldly land.

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

Edward Gardner paid a memorable visit to lead the Seattle Symphony in a transformative account of Elgar's The Dream of Gerontius.

Haydn's La canterina provides cheerful undemanding entertainment from Classical Opera. 

Edward Gardner conducts a solemn, emotionally-charged performance of Berlioz’s radical masterpiece at Gloucester Cathedral

Mozart's messy monster of an opera gets a brutalist tidy-up at Garsington, but the determinedly straightforward reading only makes this work's innate problems more obvious. 

The London Mozart Players and a talented company of singers presented a special chance to hear a rare, unfinished Mozart opera in an even rarer guise. 

Shorn of Katie Mitchell’s production and presented on the Barbican Hall’s stage with only the occasional prop, George Benjamin's modern masterpiece Written on Skin came across with even greater intensity.

First seen at the innovative, fearless Aix-en-Provence festival three summers ago, George Benjamin’s riveting, grisly Written on Skin has arrived in New York. 

Ailyn Bozok's minimlaist production of Delibes' Lakmé at Opera Holland Park contains much tender beauty and is carried by fine musical performances. 

The LSO, led by Edward Gardner, delivered a moving and profound performance of Haydn's Creation despite the acoustic challenges of St Paul's. 

As director of the film Topsy-Turvy, Mike Leigh seemed like a natural choice to turn his hand to The Pirates of Penzance at English National Opera. Sadly, this proved not to be the case. 

Sir Thomas Allen and Robert Murray give a compelling performance as the two soldiers in Britten's War Requiem. 

Players from the Orchestra of the Age of Enlightment play Schubert's Octet in F major alongside Lieder from 1824 sung by Roderick Williams, Mary Bevan, Robert Murray and Rozanna Madylus, accompanied by Sholto Kynoch.

Vert-Vert, undoubtedly the only opera named after a dead parrot, is a very, very silly opera – more a series of comic sketches than an integrated work. But in Garsington's production, everything delights.

A triumphant Elijah as Edward Gardner conducts the Blackheath Halls Chorus and Orchestra, joined by Matthew Rose, Ailish Tynan, Robert Murray and Louise Winter and young singers from Trinity Laban.

Classical Opera, with some deft revisions to Süssmayr's recitatives and a superb team of soloists, bring us a Clemenza both powerful and poignant, finally doing justice to Mozart's underrated late opera, composed for the coronation of a Hapsburg king. 

Offenbach’s wrongfully neglected masterpiece has returned to us at last, thanks to the concerted efforts of Opera Rara, the Orchestra of the Age of the Enlightenment and Sir Mark Elder; and, above all, because of the tireless, lifelong devotion of one man: Jean-Christophe Keck.

Celebrating the Wagner centenary in 1913, the Hallé Orchestra gave a concert performance in Manchester of Acts II and III from Wagner’s epic final masterpiece Parsifal.