En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Pinchas Steinberg

Fin de l’ère Tobias Richter au Grand Théâtre de Genève. Pour clôturer cette décennie : un bal masqué de belle tenue musicale mais qui pâtit d’une mise en scène et de décors plus que ternes.

Simon Boccanegra, opéra encore à la marge en regard des autres productions verdiennes, retrouve ici tout son panache grâce au talent d’une équipe artistique sans faille réunie par l'Opéra de Monte-Carlo. 

Fin de saison en apothéose à l'Opéra de Marseille qui présentait ce soir une très belle nouvelle production de Macbeth. 

A successful concert performance of Umberto Giordano's verismo hit in Sydney, with a trio of international stars. 

One of Teatro San Carlo’s most cherished productions of recent years, with an excellent cast of singers and a director who steered at his ease into the libretto’s erratic changes of mood and atmosphere.

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

Un espectacular cartel de cantantes convierte a este Andrea Chénier en el acontecimiento de la temporada. 

As clearly visible on all photos, the Sydney Opera House has two “sails”, interconnected major sections. One of them houses concerts, the other operas. Opera performances, however, are not exclusively taking place in the Opera Theatre.

Tokyo’s NHK Symphony Orchestra, conducted by Pinchas Steinberg, gives a performance of perhaps the most famous of Bedrich Smetana’s works, a romantic tribute to his motherland, Má vlast.

Kitsch and grand-opera in Hugo de Ana's production of Samson et Dalila in Turin.

Although with a promising concept, the Hungarian State Opera’s new production ultimately proved underdirected.

Good overall singing, but the Steinberg's conducting was completely subordinate to the stage directions.

Vittorio Borrelli’s production of Hänsel und Gretel in Turin offers a refined mise-en-scène focusing on the tiny, playful and colourful aspects of the plot. 

Attila, Verdi’s ode to Italy (one of them), made its world première in Venice to huge bursts of patriotic feeling. “You can have the universe, but leave Italy for me!” exclaimed the Roman general Ezio, and the audience erupted. Small wonder: the opera appeared at the height of the Risorgimento, when Italy was in the process of unifying into one state.