En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Scott Conner

Annoncée comme un des sommets de la saison lyrique nationale, la recréation française de La finta pazza de Sacrati à l’Opéra de Dijon tient toutes ses promesses.

The intrepid company brings Damiano Michieletto’s well-traveled production of a Rossini rarity to the US for the first time. 

Ambur Braid excels in the title role in the Canadian Opera Company’s starrily cast revival of Atom Egoyan's production.

Gian Carlo Menotti's seasonal opera, performed in Kansas City, finds a new audience online. 

Alessandro Talevi production for Festival O has sight gags and vaudeville tricks aplenty and features splendid voices in a fine cast. 

Renée Fleming has decided the time is right to bow out gracefully from the operatic stage, choosing her signature role to bid the fondest of farewells to London.

Jens-Daniel Herzog sets his new Orlando in a sanatorium where, pulled between his love for a woman and his passion for war, the protagonist is trying to recover his sanity.

Die Bayerische Staatsoper inszeniert Verdis Un ballo in maschera in stummfilmhafter Eleganz und setzt dabei insbesondere auf ausdrucksstarke Stimmen.

Theatre director Christoph Marthaler is renowned – if notorious – for his “off the wall” productions and adherence to bad boy antics. This Viaggio was no exception.

A trip down memory lane sends our man in Aix into raptures as Robert Carsen's production of Britten's A Midsummer Night's Dream comes home to Provence. 

The task sounded Herculean: turning Benvenuto Cellini, that reputedly difficult, flawed work by Berlioz, into an utterly entertaining show that renders justice to its youthfully energetic music. This is what Terry Gilliam manages to pull off... and it is nothing short of miraculous.

Glyndebourne’s annual away day from Lewes to the heaving metropolis is always a highlight of the Proms season, but this year’s visit was more hotly anticipated than usual. 

Dating from 2008, the Semperoper’s current production of Rigoletto is quite intriguing. It’s set in what appears to be a swanky 21st-century Berlin apartment – industrial, sparse and effortlessly cool – and in many ways this is an interesting choice.

Though most of Gaetano Donizetti’s operas are not well known, Donizetti wrote dozens of them – many of the silly variety. L’Elisir d’Amore is one frothy work that not only survived, but continues to be performed around the world – frequently. L’Elisir d’Amore has a formulaic storyline: it’s war time (pick a war, any war). A lonely boy falls for a very pretty girl.

The Academy of Vocal Arts (AVA) in Philadelphia presented a concert version of a rarely performed Verdi opera, Oberto, at the Haverford School's Centennial Hall. This is, in fact, the celebrated Italian composer’s first opera, and a work that took him four years to write. The evening proved a showcase for the AVA’s talented resident artists and the many musicians supporting them.

Tucked away on Spruce Street, Philadelphia, many blocks off the glittering Avenue of the Arts is a stellar training academy with the mission of preparing world-class opera singers. It’s called the Academy of Vocal Arts (AVA), and it offers resident artists from throughout the United States and all over the world a chance to study and perform in its four-year program.