En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Michelle Trainor

Andris Nelsons brings his Shostakovich project to a close in Boston with an incandescent performance of Lady Macbeth of Mtsensk. 

An opening night of Gregory Spears' opera is more like a dress rehearsal in Boston. 

Jennifer Johnson Cano’s stamina and total commitment were exceptional in the East Coast premiere of Poul Ruders' opera. 

A Gounod rarity comes to Boston for a concert performance under the ever-enterprising Gil Rose.

Muted portrayals dilute the danger of the work, but excellent singing saves the performance. 

Despite its title, the victims dominate Julian Grant and Mark Campbell’s caustic one-act opera. 

Boston Lyric Opera’s production of Le nozze di Figaro boasted a young, capable, and energetic cast, a lively staging, and an intimate venue to put it all across. 

Zemlinsky's tortured take on Oscar Wilde's Birthday of the Infanta is given a harrowing treatment; Aleš Briscein convinces as the dwarf of the title.

It would be no exaggeration to say Franz Hawlata stole the show, an act of grand larceny made all the more remarkable by the strong cast which shared the stage.

In James MacMillan’s Clemency, three strangers visit Abraham and Sarah. The aging couple make them welcome and receive the news that Sarah will bear a son – to Sarah’s disbelief. They appear to be angels, coming to bless the couple. But as the travelers prepare to leave, they reveal that their next stop is one of condemnation. The people of the twin towns, Sodom and Gomorrah, will be destroyed.

Just as it seemed that contemporary American opera had sworn off melody completely, composer John Musto brings us The Inspector. Paired with Mark Campbell's brightly comic libretto, Musto's score sweeps the hilarious plot along, punctuated by clever musical references and familiar tunes.