En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Albert Dohmen

Belle réussite au niveau scénique de la nouvelle production cinéaste de Philippe Grandieux à Opera Ballet Vlaanderen.

La mise en scène très cinématographique de Cyril Teste fait mouche et la distribution est à la hauteur du défi que représente l'unique opéra de Beethoven.

L'œuvre de Berg était présentée pour la première fois en Principauté, avec une distribution efficace et une mise en scène fascinante signée Michel Fau.

Première de Fidelio triomphale à l'Opéra Comique, où Katherine Broderick (Leonore), arrivée quelques heures avant le lever de rideau pour remplacer la soprano défaillante, sauve non seulement Florestan... mais aussi la soirée !

Le Grand Théâtre propose les fastueuses « Szenen aus Goethes Faust ». Le Faust de Markus Werba domine un plateau de solistes de très belle tenue.

With Iréne Theorin's Brünnhilde rejuvenated, the Ring receives a worthy finale at the Budapest Wagner Days.

The pure magic of Ádám Fischer and the Hungarian Radio Symphony Orchestra delights with two brilliant leads, but others disappoint on the second day of Müpa's Ring.

The Estonian National Male Choir make a strong impression, while Jennifer Pike excels in a cornerstone of her repertoire. 

Despite many perceptive details, Bayreuth's new Ring culminates in a rather damp squib of an ending.

Die schwedische Sopranistin fuhr an einem unvergesslichen Abend einen letzten Brünnhilden-Triumph ein.

Christian Thielemann led a memorable performance of Strauss's chamber opera Ariadne auf Naxos with a strong cast in a new straightforward production by David Hermann.

Christian Räth präsentiert eine enttäuschende Inszenierung von Webers romantischer Oper voller übertriebener Klischees.

With a plethora of theatre seats, stools and benches it was as if Willy Decker and Wolfgang Gussman had been elected ‘Chair-men of the bored”.

The third installment of Semperoper Dresden’s Ring des Nibelungen cycle ups the ante with an outstanding ensemble performance.

Wagner demands vocal resilience from the large cast of singers in Das Rheingold, but Willy Decker wants strong thigh muscles as well.

The 2011 Lyon production, with an excellent orchestral and vocal performance, brings an austerely moonlit version of Tristan und Isolde to Barcelona.

An exceptional musical performance was enhanced by a streamlined but ultimately moving staging in an evening of near perfection in Dresden.

Philipp Stölzl's production of Der fliegende Holländer, which places the action within a giant frame in a library, arrives at The Liceu.

Oksana Lyniv se estrena en la dirección de la ópera wagneriana y ofrece una lectura solvente de Un holandés errante de resultados desiguales, tanto en la escena, como en las voces, de entre las que Dohmen fue de lo mejor de la noche.

Daniele Gatti is the winner of the night, managing to draw an astounding outcome from a far from ideal cast.

Frank Castorf's controversial but supremely well-cast Ring cycle is provocative to the last.

Visual references both incongruous and perceptive abound in the third instalment of Bayreuth's musically triumphant Ring cycle.

Bayreuth's controversial Ring returns with a new conductor and a refreshed cast.

Romeo Castellucci's captivating Moses und Aron was a major success, a bold reminder of the boundless power of opera.

Klaus Florian Vogt’s Florestan redeems an otherwise disappointing Fidelio in Otto Schenk's timeless production.

At the end, there was a profusion of boos and applause for the creative team: Castorf and co had given us a Ring cycle that was by turns infuriatingly indulgent, interestingly provocative, visually beautiful, puzzling and rewarding.

Castorf's anarchic take on Siegfried pushes well beyond his treatment of the earlier parts of the Ring, and not all the heroics from Stefan Vinke, Wolfgang Koch and Catherine Foster can rescue the evening.

The first installment of Frank Castorf's controversial Ring is applauded on its 2015 revival at Bayreuth, but arguably the incessant visual action detracts from the appreciation of the music. 

A fairly conventional version of Beethoven's Fidelio at the Grand Théâtre in Geneva plays it safe and ultimately succeeds. 

Mit spannendem Bühnenbild und gerissener Personenführung schafft die neue Dresdener Produktion der deutschesten aller Opern, Webers Freischütz, den Spagat zwischen Tradition und Kitsch.

Strauss’ Die Frau Ohne Schatten is perhaps his most problematic opera, in that it contains all that is best and worst in him, to the most maddening degrees.

Beethoven took over nine years to write and edit Fidelio, his only opera. It tells the story of Leonore, whose husband Florestan is being illegally held in prison. She disguises herself as a man, Fidelio, and gets a job in the prison in an attempt to save him.