En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Deanna Breiwick

Événement à l'Opéra national de Lorraine avec la redécouverte d'Il palazzo incantato de Luigi Rossi dans une production en forme de feu d'artifice.

Mit ausgezeichneten sängerischen Leistungen und vorzüglichem Orchester der Staatsoper zeigte Strauss' heiter-rasantes Konversationsstück seinen musikalischen Esprit.

The Bayerische Staatsoper's revival of a controversial production containing Georg Baselitz’s artwork succeeds with strong musical performances led by veterans of Wagnerian operas.

Craig Colclough's Don Pasquale is arrogant, boyishly hopeful, outraged and pathetic by turns, his singing free of silly buffo mannerisms, the voice grand.

Calixto Bieito sets Monteverdi’s L’incoronazione di Poppea in a hedonist, decadent society whose citizens are defined by their egotism, ambition and sexual exploits.

Laurence Cummings leads the FestspielOrchester Göttingen, the NDR Choir and an exemplary set of soloists led by in a definitive performance of Handel's oratorio.

“Leave your hoop skirts and swords at home,” the audience was advised, in order to avoid overcrowding when Handel’s Messiah premiered in Dublin in 1742.

Puts’ and Campbell’s fast and furious neo-Victorians launch Philadelphia’s Annual Opera Festival.

Jens-Daniel Herzog sets his new Orlando in a sanatorium where, pulled between his love for a woman and his passion for war, the protagonist is trying to recover his sanity.

Die Zauberflöte may well tell us something about the Human Condition, but its staging in Zurich serves more to distract from the music and the messages than it does to support them.

“Love conquers all.” Too often this phrase has been repeated, yet too true this statement has proven. Rather than just being a passionate emotion in which desires of the world and flesh prevail, true love is a genuine feeling which trials or extreme evil cannot break, even in the most difficult of circumstances.