En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Katrin Lea Tag

Le Theater Basel propose la Tétralogie à la façon d'un « festival scénique » digne du projet original de Richard Wagner. Retour sur les deux premiers épisodes d'une série qui est déjà une franche réussite.

Un mois après le succès de La finta pazza, l’Opéra de Dijon assure avec Les Boréades un nouveau temps fort de la saison lyrique française, sous la direction d'Emmanuelle Haïm et dans la mise en scène de Barrie Kosky.

La saison lyrique de l’Opéra de Dijon s’ouvre sur une production de Castor et Pollux qui ne laisse personne indifférent.

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

Barrie Koskys Inszenierung begeistert vor allem mit der brillanten Personenregie. Musikalisch lässt der Abend leider Wünsche offen.

When is The Nutcracker not The Nutcracker? When's it's mashed together with Tchaikovsky's Iolanta to represent the blind princess’ inner world in a dark interpretation. 

With a brand new production by Barrie Kosky, Komische Oper Berlin's first venture into the Sondheim repertoire mostly falls flat.

Handel's seldom-performed Hercules becomes the latest oratorio to undergo the Kosky treatment at Komische Oper. 

Brought to life by some sensational singing from a strong cast, Kosky's staging delivers repeated emotional punches. 

Claus Guth inszeniert Strauss' Oper als tiefenpsychologisches Rachespiel, bleibt jedoch mit seiner Deutung an der Oberfläche.

Lotte de Beer wagt ein Capriccio aus Peter Tschakowskys Jolanthe und dem Nussknacker. Durchweg unterhaltsam, aber nicht bahnbrechend.

Homoerotische Softpornos sorgen bei der Premiere von Hector Berlioz Grand opéra für ein ungewöhnlich lautstarkes Buh-Konzert – trotz einer Vielzahl von musikalischen Highlights.

A dearth of nuance affects this new production of Verdi's late masterpiece in Berlin, set in Sir John's gourmet kitchen. 

Frozen lava rock extends from the proscenium to the backcloth, an apt image to depict the harm Don Giovanni inflicts upon the other characters in Mozart's darkest opera.

Ein Hauch von Nichts! Kein Kitsch, kein Orientalismus – Barrie Koskys Salome ist radikal reduziert!

Sophisticated interpretation of The Bassarids by Hans Werner Henze at the Komische Oper Berlin

Barrie Kosky's divisive production returns to The Royal Opera but has lost its zing. 

Starke Bilder und vielschichtigen Klang gibt es bei der Grazer Erstaufführung von Karol Szymanowskis Oper zu erleben.

Barrie Kosky's troubled production returns to Covent Garden

Marlis Petersen's Alcina bloomed for a knockout “Ah! mio cor!” just in time for intermission.

Barrie Kosky's punchy, visually exhilarating take on Saul, with Iestyn Davies as a sublime David, makes for a powerful evening of drama at Glyndebourne.

Atmosphärisch sowie musikalisch dicht, faszinierend und beklemmend landet die Oper Graz mit Paul Dukas' Sicht auf den Blaubart-Mythos einen Premieren-Volltreffer. 

Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.

Spannendes Psycho-Duell in reduzierter Optik, kompetenter Belcanto mit dem Wahrhaftigkeitsanspruch des Verismo.

Claus Guth's production of Handel's last oratorio lands in Paris, where William Christie leads Les Arts Florissants and a stellar cast. 

Barrie Kosky spielt in einer neuen Fassung von Die Krönung der Poppea an der Komischen Oper mit traditionellen Konventionen des Männlich-Weiblichen.

Sorochyntsi Fair was last performed at Berlin's Komische Oper in 1948 by the legendary stage director Walter Felsenstein. Now Barrie Kosky, stage director and intendant, has tried his hand.

The stunning Glyndebourne production of Saul by Barrie Kosky also makes a big impact in the Adelaide Festival.

Concerto Köln, honed to perfection, and an accomplished cast star in Claus Guth's tense, dark staging of Handel's Jephtha. 

Paula Murrihys Rollendebüt in Frankfurt entpuppt sich nicht als betörend, sondern als unwiderstehlich cool.

Barrie Kosky's production, revived for the tour, turns Handel’s 1739 Old Testament oratorio Saul into a gripping psychodrama. 

Barrie Kosky, with nods to the surreal and the macabre, plunges us headlong into Hoffmann’s nightmarish world in a terrific new production at the Komische Oper.

Director Michael Thalheimer staging Weber’s Der Freischütz entirely in the Wolf’s Glen, albeit relocated from a “fearsome forest gorge” to what looks like a badger’s sett. 

With the help of a star-studded cast, Barrie Kosky's imaginative staging delivers a production of Handel's Saul which has just about everything going for it: choreography, voices, acting. A must-see.

Where is the line? Where does the stage end and the audience begin? This is what Australian director Barrie Kosky probes in his production pairing Purcell's Dido and Aeneas with Bartók's Bluebeard's Castle.

After Cavalli’s Ercole Amante in 2009 and Handel’s Deidamia in 2011, De Nederlandse Opera is continuing its exploration of obscure Baroque operas with Gluck’s Armide, until 27 October.I always wondered why Armide was Gluck’s own favourite work.

Rameau's Castor et Pollux, his take on the Greek myth of two brothers so close that Pollux is prepared to descend into hell in the place of Castor, isn't exactly one of the standards of the repertoire.