En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Chloe Obolensky

Superbement incarnée par Vannina Santoni, c’est une grande Violetta qui est née ce 28 novembre 2018 au Théâtre des Champs-Élysées.

Ailyn Pérez’ role debut as Tatiana in Eugene Onegin at the Metropolitan Opera is a joy, with Piotr Beczała's Lensky the evening’s other standout. 

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

Chung's mastery of orchestral colour and texture came into its own, the brooding introduction to Act 2 making for a harrowingly apocalyptic representation of tyranny.

The evening was dominated by Anna Netrebko, who reprised the role of Tatiana with fresh insights and vocal charisma.  Robin Ticciati led the Met Orchestra to probe a new depth of the score.

Fidelio waves goodbye to Barenboim at La Scala, and a fine production marks the occasion with a firework display. 

Premièred in 1973, Death in Venice was Britten’s last opera and therefore his last chance to create a big starring role for his lifelong partner Peter Pears.

Young man spurns the love of a good woman. Time passes. Man realises the error of his ways, but it is too late. It's not exactly the most taxing of plot lines, but in Eugene Onegin, Alexander Pushkin turned it into a masterpiece.