En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Joyce El-Khoury

L’Opéra de Lille propose une Tosca chargée d’émotion, portée par un excellent trio vocal et un orchestre incandescent.

Dernière apparition de Tugan Sokhiev à la tête de l'ONCT cette saison, pour un Requiem de Verdi remarquable.

Eine solide Vorstellung von Puccinis Oper, ganz ohne Taschentuchalarm, aber mit sehr guten Einzelleistungen. 

El Orfeó Català brilló especialmente en la Messa da Requiem de Verdi en el concierto que cerró la temporada de L'Auditori.

Undeterred by the weather, an enthusiastic audience greeted an al fresco Tosca of international star quality.

Lindy Hume's new production works reasonably well in allowing the story to be told with sufficient emotional weight.

It is a thing of wonder that Roberto Devereux is one of Donizetti’s lesser known works. Whether on account of its challenging soprano part, or its fussy Tudor setting, it is rarely performed, but contains some of the composer’s most beautiful – and indeed memorable – arias and duets.

Robert Carsen's Eugene Onegin was binned by the Met but works wonderfully in its revival by the Canadian Opera Company COC with high class singing and acting from a young, engaging cast.

Dismembered after the 1840 bankruptcy of its promoter, Opera Rara's decade-long reconstruction has resulted in a beautifully constructed opera that's enjoyable throughout.

Los figurines y la escenografía austera de Stewart Laing se contrastan con el ensueño, resuelto de forma notable por Stephen Costello en una maravillosa Che gelida manina, y la réplica, ascendente pero no menos cautivadora, de Anita Hartig

Glyndebourne's second Traviata cast of the summer saw the festival field three principals worthy of any major international opera house. 

Rare repertoire, polished orchestral playing, thrilling singing – it's no wonder London's operatic cognoscenti were out in force.

Richard Eyre's uncomplicated production remains as watchable as ever; Joyce El-Khoury makes a promising Covent Garden debut.

Returning stars and high-profile company debuts contributed panache to the energy-charged atmosphere.

The thrills of Tudor (pseudo-)history and bel canto expressivity combine in the second of Donizetti's “Three Queens” operas, Maria Stuarda, making its company debut at Seattle Opera.

For his first collaboration with the Dutch National Opera, Australian director Benedict Andrews emphasizes the modernity of Puccini’s most popular opera.

Employing a new critical edition by Flora Willson, Mark Elder led the forces of The Orchestra of the Age of Englightenment in a concert performance of Donizetti's Les Martyrs, which demonstrates what a tremendous work it is.

The Canadian Opera Company provides a traditional production (that’s a complement) of Puccini’s La bohème at Toronto’s Four Seasons Centre for the Performing Arts. Its strengths are a well-sung Mimì (Grazia Doronzio) and Marcello (Joshua Hopkins), and fine directing by John Caird. The set design is very good except for the first act and the orchestral playing is sound.

The second collaboration between Opera Rara and the BBC Symphony Orchestra brought a starry cast to the Barbican Centre on Sunday evening for a revival of Donizetti’s tragic opera Belisario. Written in 1836, immediately after the triumph of Lucia di Lammermoor, it was an instant success following its première at the Teatro La Fenice in Venice and remained in the repertoire for several decades.

Read our review of Giancarlo del Monaco's production of Verdi's Simon Boccanegra in its 2010 broadcast from the Met Opera in New York.