En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Riccardo Frizza

I Puritani ouvrent la saison de l'Opéra Bastille. Si la mise en scène de Laurent Pelly déçoit, les chanteurs se distinguent, Elsa Dreisig et Javier Camarena en tête.

Transfigurant littéralement le personnage de Lucia, Pretty Yende déploie une palette vocale stupéfiante et fait preuve d'une intelligence artistique tant dans son jeu scénique que dans son interprétation vocale, absolument sublime.

Sans oser de comparaison avec Maria Callas et Montserrat Caballé, force est de reconnaître en Maria Agresta la grande Norma de notre époque, une immense Norma.

A concert performance of a middle period rarity is part of a slimmed down festival which transfers to an online format to audiences across the globe.

14th-century Venice, a city of intrigue, criminal activity and mysterious masks, is the setting for Donizetti's opera about the Doge Marino Faliero, whose life is torn between public and private issues.

Una excelente representación basada en una cuidada dirección orquestal de Riccardo Frizza y un compacto y solvente elenco encabezado por Luca Pisaroni, Varduhi Abrahamyan y Maxim Mironov.

The Donizetti Opera Festival presents a rarity with a good cast of bel canto specialists in a somewhat disappointing production.

La Fenice presents Rossini’s monumental farewell to Italy and to 18th-century tradition in Ligorio’s elegant new production with a superb cast.

Yoncheva passed the test in style, providing a scintillating delivery that drew feverish approval from the public.

Tokyo's New National Theatre is currently celebrating its twentieth anniversary season with three new productions and revivals of their most popular productions including Vincent Boussard’s minimal yet colourful Traviata.

An overpowering orchestra and unusual stage layout contribute to a disappointingly even-tempered Stabat Mater.

Not a particularly revealing Falstaff, but a pleasing performance though. Maybe one would have expected something of greater impact from a festival like this one, but that goal had already accomplished by Graham Vick with his Stiffelio the night before...

Rigoletto vuelve al Gran Teatre del Liceu ante la enorme expectativa de un reparto que comprende el debut del tenor Javier Camarena como Duque de Mantua y la vuelta del malagueño Carlos Álvarez a uno de sus roles más logrados.

In the end, Newbury’s production leaves you with more questions than it answers. 

A zinging account of Verdi's score, making up for Daniele Abbado's nondescript production. 

Roberto Frontali is a stern, chillingly immobile Iago, armed with a brassy voice and a cleanness of diction that sees him carve Boito's text with surgical precision.

Crítica comparativa entre los dos repartos de la obra, una confrontación de la que ambos salen airosos.

A brilliant revival of Donizetti's Maria Stuarda at The Met centres on the dramatic confrontation between Queen Elizabeth I and Mary Stuart at Fotheringhay. 

Una poderosa puesta en escena y las actuaciones Gregory Kunde y Carlos Álvarez cimentan la producción estrella del Festival de Peralada

De Bosio's highly traditional reading of Nabucco takes blockbuster form, aided by Veronese architect Rinaldo Olivieri's sets, which are at once epic and pragmatic.

Zeffirelli's La Bohème at the Met never fails to charm. Balance issues aside, a beautifully sung performance by a very capable cast.

When the Met estimated the timing for Norma, Bellini’s familiar bel canto opera included in their fall repertory this year, they did not factor in the ongoing applause for soprano Sondra Radvanovsky.

Giuseppe Verdi’s Attila is not an opera that one hears often. Composed during his self-styled “galley period” – before he found his mature musical voice with Rigoletto – Attila has inherent musical and dramaturgical weaknesses. With one foot still firmly rooted in bel canto tradition, the numerous cabalettas can be exhausting, even ridiculous, considering the dramatic nature of the text.

In the last few decades, Bellini’s I Capuleti e i Montecchi has flirted with standard repertory status, but it has not sufficiently won the hearts of opera-goers to warrant more than the occasional production. Though blessed with some of the composer’s finest melodies, the opera has problems for modern audiences.

The Napa Valley is famous for its picturesque countryside, stunning weather and fine wine. With the ambitious Festival del Sole concluding their seventh season on Sunday night with a concert featuring two titans of classical music - Joshua Bell and Hélène Grimaud – they proved that “wine country” has even more to offer the Northern California region than that which makes them one of the premier de

The venerable Viennese tradition of airing dirty operatic laundry in public found an unlikely proponent this season in the form of the Theater an der Wien’s mild-mannered director Roland Geyer, who, unhappy with William Friedkin’s production of The Tales of Hoffmann in March, abruptly sacked the American director and announced he would devise a new staging himself a matter of months before the sec

Director William Friedkin doesn’t put a dramaturgical foot wrong in his Theater an der Wien production of The Tales of Hoffmann and yet doesn’t challenge, or even engage with, any of the opera’s Romantic positions.

Read our review of Mary Zimmerman's production of Rossini­'s Armida in its 2010 broadcast from the Met Opera in New York.