En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Ekaterina Semenchuk

La reprise de la production de David McVicar créée en 2015 est une belle réussite, notamment grâce à l'interprétation exceptionnelle d'Anna Netrebko dans le rôle-titre.

Malgré une sombre mise en scène, c'est le plateau vocal qui brûle les planches de cet impressionnant Trovatore à l'Opéra Bastille.

Àlex Ollé disecciona Il trovatore con pericia cinematográfica, bien acompañado por un experimentado Maurizio Benini y un formidable elenco.  

Una producción ideada y capitaneada por el escultor Jaume Plensa muestra un Macbeth conceptual y abstraído, que no acaba de casar con el espíritu de la obra.

Five highly dissatisfied lead characters find only disastrous or ambiguous outcomes. Yet there are few greater operas than this.

Studien der (Un-)Menschlichkeit: Die Berliner Philharmoniker unter Kirill Petrenko widmen sich der Musik der Nachkriegsmoderne und stellen dabei die Hoffnung in den Vordergrund.

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

Un viaje entre lo trivial y lo emocional del lied ruso de mano de Ekaterina Semenchuk y Semjon Skigin.

Kirill Petrenko launches the Berlin Philharmonic's “Golden Twenties” series with Kurt Weill's First Symphony and Stravinsky's Oedipus Rex.

Sir David McVicar's unassuming production fails to engage with the political side of Verdi's masterpiece, despite good conducting by Nicola Luisotti and some good singing by a solid cast. 

In Khovanshchina, even more so than in Boris Godunov, the chorus is the chief protagonist and the La Scala chorus was truly astonishing.

Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

Tenor-turned-director José Cura transplants the action from southern Italy to Buenos Aires. 

Zwei Verismo-Klassiker, die sich nach kurzfristigen Umbesetzungen auf unterschiedlichem Niveau präsentierten, wurden von Roberto Alagna in Höchstform zusammengehalten. 

David McVicar's uninspiring Cavalleria rusticana remains problematic, but a strong Pagliacci leaves the New York audience gasping. 

The Met Opera's concert performance of Verdi's Requiem was an emotional tribute to Dmitri Hvorostovsky. 

Francesca Zambello’s engaging Aida opened the season at Washington National Opera, eventually getting into its stride. 

Muti's reading of the score is extraordinary, both for its sophistication and originality.

Isabelle Patriot-Pieri's new production is a quirky mix of traditional and the opposite; Netrebko shows her star quality; Eyvasov impresses.

Has Health and Safety finally caught up with the Spanish Inquisition? A flameless auto-da-fé and some low-key individual performances meant this revival took time to hit its stride. 

Recitals of Russian song don't have to be suffocated with doom and gloom. Neither do they have to be built upon the works of Tchaikovsky and Rachmaninov.

Were it not for a sterling musical display, built on the shoulders of bass Ferruccio Furlanetto and conductor Myung-whun Chung, this could have been a very long night indeed.

San Francisco Opera's Aida features exciting role debuts from Leah Crocetto and Brian Jagde and a visually striking production, but a lack of good direction keeps it from being great music drama.

On Saturday night, nine androgynous, saucy, rambunctious dancing witches with thick, three-foot tails and exuberant tassels, whose heritage included the Wizard of Oz and the Lion King, stole the show. 

Valery Gergiev conducts the Mariinsky Opera in a vocally strong Das Rheingold, a promising beginning to Edinburgh International Festival’s Ring in concert over the coming years.

Francesco Meli asserts his credentials as one of the top tenors singing Manrico; David Bösch's staging lacks attention to detail.

Visually this production fully rendered the opera's atmosphere. The director was good at encompassing the private stories and emotions of the three main characters into a broader context, dominated by Fate.

An exciting cast starring Michael Fabiano and Leah Crocetto makes up for a slow and static production at San Francisco Opera's opening night.

Salzburger Wiederaufnahme mit starker Leistung von Anna Netrebko und Ekaterina Semenchuk zu Recht ausverkauft.

Große Stimmen, große Emotionen und nur kleine Irritationen: Das Wiener Staatsopernpublikum feiert Anna Netrebko, Luca Pisaroni und Celso Albelo in der Wiederaufnahme von Anna Bolena.

Conductor Alexander Vedernikov with the Radio Filharmonisch Orkest and a fine cast of soloists captivate the Concertgebouw’s audience with a too-little known opera by Tchaikovsky.

A rare chance to see Berlioz's five act epic Les Troyens. Huge Russian forces from the Mariinsky Opera under Valery Gergiev visit the Edinburgh Festival. 

  Read our review of Stephen Wadsworth's production of Mussorgsky's Boris Godunov in its 2010 broadcast from the Met Opera in New York.