En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Rodney Gilfry

On nous avait certes garanti une production exempte de têtes emperruquées et de décors à dorures, mais pas grand-chose ne nous avait préparé à une telle radicalité de mise en scène. 

Kevin Puts' song cycle inspired by the correspondence of Georgia O'Keeffe and Alfred Stieglitz makes its long-awaited New York debut, featuring Renée Fleming and Rod Gilfry. 

 Michael Cavanagh's sleek new production, designed by Erhard Rom and conducted by James Conlon, transforms the 18th-century opera into a Broadway musical, score by Mozart.

Based on letters between Georgia O’Keeffe and her husband, Alfred Stieglitz, Kevin Puts’ The Brightness of Light at the Lyric Opera of Kansas City portrays marriage as a collaborative work in progress. 

80% less of Shakespeare's text adds up to more intensity in Brett Dean's Hamlet as Neil Armfield's staging is mounted by Opera Australia. 

The Metropolitan Opera makes good on its promise to present more contemporary work, opening the season with Jake Heggie's gut wrenching tale of rage and redemption. 

Ein Werk, das sowohl traditionell als auch innovativ, elegant und leidenschaftlich ist: Brett Deans Hamlet, dessen gewaltige Aufgaben an Szene und Musik an der Staatsoper in München überzeugend gelöst wurden. 

Brett Dean’s Hamlet at the Met is a worthy addition to the operatic canon, and the production is a treat. 

Matthew Aucoin’s Eurydice enjoys its world premiere at LA Opera. 

Kevin Puts’ expanded work on Georgia O’Keeffe and Alfred Steiglitz provides another triumph for Renée Fleming and the NSO, while two Strauss works demonstrate both its artistic re-emergence and work left to do.

A wonderfully realized production at San Francisco Opera of Jake Heggie's operatic version of a holiday classic. 

An intense intellectual melodrama from Aucoin, with superb playing by members of the LA Opera Orchestra.

Brett Dean's Hamlet is an extremely powerful theatrical experience, excelling in all aspects of production, singing and musical values, but is it an opera?

Adès opera resists explanation, and the ambiguity of the story drives much of its compelling nature. 

Brett Dean treats Shakespeare's behemoth as a timeless story told in language that has become timeless; no effort is spared in elucidating and amplifying that story.

David Lang’s new opera the loser opened the Next Wave Festival at the Brooklyn Academy of Music on Wednesday night, but simply lacked theatricality.

The controversial Aix-en-Provence Così fan tutte reaches the Edinburgh Festival with a thrilling first-rate international cast and the excellent Freiburger Barockorchester.

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.

During the opening night of Anna Nicole at BAM, I found myself experiencing a case of déjà vu. New York City Opera was electrifying the Howard Gilman Opera House with a work by a living composer featuring the salacious story of a female protagonist whose life was splashed across tabloids, and at one point even featuring an act of fellatio with the disjointed music carrying on in the background.

It was a glass-smashing, balloon-popping, bearskin-wearing, strip-out-of-your-swimsuit-onstage kind of afternoon at the Gerald W. Lynch Theater for the opening of New York City Opera’s second production of the 2012 season, Mozart’s Così fan tutte.Even for people who’ve seen this opera before, I’ll bet they’ve never seen a Così like this one.