En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Peter Schneider

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

Stefan Vinke was a convincing, petulant, pouty Siegfried in the third episode in Wagner's Ring cycle in Vienna.

Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.

A festive air was palpable – the house was technically sold out – as the first of a set of three Ring cycles launched at the Wiener Staatsoper. 

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

When audiences first heard Wagner’s Tristan and Isolde, they were stunned by the sustained, passionate eroticism of the score, with the musicians amongst them amazed by the variety of novel compositional devices.

Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts.

When Richard Strauss first wrote Salome, he was unable to get it performed in his home city of Vienna, so shocking was the material with its heavy eroticism and necrophiliac ending (the première was in Dresden). A century on, times are more permissive, and Salome features in the seasons both of Vienna's Volksoper and of the Staatsoper, where we saw it last night.

In recent years the German tenor Klaus Florian Vogt has gained fame for his lyrical portrayals of Wagnerian characters like Lohengrin, Parsifal, and Walther von Stolzing in Die Meisteresinger von Nürnberg.

It is customary in German-speaking countries to perform Wagner’s Parsifal on Good Friday, so it was quite a bold move for the Semperoper in Dresden to put on Tannhäuser instead, especially in Peter Konwitschny’s strongly anti-Christian production.