En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Brandon Cedel

Accourez au Grand Théâtre de Genève faire un rêve éveillé : de l’excellence du plateau de solistes, des couleurs de l’Orchestre de la Suisse Romande dirigé avec maestria par Steven Sloane, à la rêverie offerte par la mise en scène de Katharina Thalbach, ce Britten là vous déroutera peut-être, mais vous fera rêver sûrement !

Ruth Knight untangles Handel's Rodelinda, directing a new staging at Garsington which features a feast of fine singing. 

Harry Fehr’s directorial debut for ENO transposes Donizetti’s tale into a World War 2 setting. Rhian Lois charms and commands as Adina.

Handel's seldom-performed Hercules becomes the latest oratorio to undergo the Kosky treatment at Komische Oper. 

Impeccable ensemble work in Dawn M Simmons' first foray into opera. 

A strong revival cast, conducted by Dalia Stasevska, demonstrate why Sir Peter Hall's 1981 vintage staging of Britten’s A Midsummer Night's Dream is such a classic. 

Is it possible to have a minor success on every level? Kevin Puts' The Hours underwhelms in its world premiere production at the Metropolitan Opera. 

Michael Grandage's vivid production of Mozart's comic masterpiece is fast becoming a classic and is revived here to a very high standard.

Despite beautifully realized performances from Renée Fleming and Kelli O'Hara, Kevin Puts' opera is still finding its voice.

Robert Carsen's riotous production of Rinaldo returns to the Sussex Downs, a schoolboy fantasy colliding crusading knights with St Trinian's bad girls. 

Lydia Steier liefert mit einem doppelten Opernabend ein überzeugendes Hausdebüt an der Oper Frankfurt.

Oper Frankfurt's revival of Richard Jones's production of Billy Budd with a homegrown cast is a devastating combination of powerful music and searing drama.

Erneut fährt das Regieteam um Tilmann Köhler mit einer Händel-Oper in Frankfurt einen enormen Erfolg ein; Canstantinos Carydis dirigiert mit beeindruckender Sensibilität.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

Roberto Abbado's precise conducting made the score tingle with life. The magical glissandi were full of mystery, the hotbed of musical detail cleanly communicated and the amorous outbursts treated with Italianate ardour.

James Levine conducts the MET Chamber Orchestra in the intimate setting of the Weill Recital Hall

Jonathan Kent claims one of the great difficulties of Mozart-Da Ponte’s 1787 dramma giocoso is ‘the collision of an extraordinary variety of music and mood within it’

Describing its new production of Francesco Cavalli’s 1668 opera Eliogabalo, the Gotham Chamber Opera compares the exploits of titular depraved Roman emperor Heliogabalus to Salome. There’s an obvious mistake here: Salome is an opera; Heliogabalus was a historical figure.