En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Yosep Kang

Colorful sets and lavish costumes greet Seattle audiences as live opera finally returns to the McCaw Hall. 

A fine cast led by Maija Kovalevska conveys the timeless beauty and emotion of Puccini’s Parisian melodrama, but the 1930s Berlin setting remains an imperfectly realised transformation.

It's a big night at the Opéra Bastille for their 350th anniversary season; Oropesa's dazzling coloratura stops the show; Andreas Kriegenburg sets the action interestingly in a Star Trek future.

Anja Harteros takes a while to hit her stride in a Don Carlo that doesn't quite gel.

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

People who claim that opera is nothing more than a glorified pantomime would have their prejudices confirmed at Deutsche Oper Berlin's Un ballo in maschera. This is, however, high praise. It’s an evening of camp entertainment, not a philosophy lesson.

Dass alte Produktionen nicht unbedingt verstaubt und langweilig sein müssen, zeigt die Bayerische Staatsoper mit einer denkwürdigen Rosenkavalier-Vorstellung.

Roger Vontobels Operndebüt im neuen Hamburger Tell beweist Mut und Fingerspitzengefühl und erweist sich Schmähkritiken zum Trotz als durchaus sehenswert.

The ever-popular La bohème returns in Gale Edwards' adaptation which features a change to the final months of the 1930s Weimar Republic as featured in the musical Cabaret.

Deutsche Oper Berlin’s 1980 production of Donizetti’s romantic tragedy gets a new life with a pair of young singers who valiantly and elegantly sang the doomed lovers.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

We find Donald Runnicles and his BBC Scottish Symphony Orchestra on fine form for a dramatic Verdi Requiem, packed with magical sound pictures and lashings of all-important terror. 

A Puccini classic gets the classic treatment in this timeless production at the Deutsche Oper Berlin. 

Beiden Kompositionen wohnen unüberhörbar opernhafte Züge inne, sie sind jedoch in erster Linie von einer tiefen, wenn auch unterschiedlich umgesetzten Religiosität durchdrungen.

Both the music and the plot are heavily revised in Nunes' imagining of Rossini's final opera. But great performances and a coherent concept earned this unusual production a well-deserved standing ovation.

The Deutsche Oper's vintage production of Lucia di Lammermoor is fabulously eerie and strongly performed. 

The Magic Flute at the Deutsche Oper Berlin is an interesting, well-sung and well-performed classic. Set in an agrarian world where Sarastro is less a high priest than he is a benevolent farmer-king, Günter Krämer’s 1991 production does not subvert the opera’s problems so much as it highlights them.

Nabucco opened the season at the Deutsche Oper Berlin, marking the first time in the company’s 100-year history that Verdi’s opera has been performed. Directed by Keith Warner, known for his often flamboyant productions, and conducted by Andrea Battistoni, the opera was warmly received by a delighted audience.