En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Julia Bullock

A challenging depiction of Joséphine Baker brilliantly performed by Julia Bullock under the direction of Peter Sellars at the Adelaide Festival.

A strong world premiere of Aucoin's evocative and immediate Song of the Reappeared, a concerto for voice written for soprano Julia Bullock which sets vivid imagery by a poet who suffered under authoritarianism.

John Adams’ Antony and Cleopatra puts the composer's propulsive music at the service of both moments of riveting human drama and less effective scenes of battle and politics. 

The Orchestra of the Age of Enlightenment and soprano Julia Bullock invite us to listen to familiar pieces with fresh ears in invigorating performances at New York's 92NY.

La comprensión errónea del oratorio Theodora enturbia una, por lo demás, excelente producción de Katie Mitchell.

John Adams’ Nativity oratorio is fully staged in a new production by Lileana Blain-Cruz, her first time directing at the Met. 

The classical singer's repertoire encompasses showtunes, spirituals and folk songs, alongside a more traditional selection of Lieder.

Maxim Emelyanychev, the Scottish Chamber Orchestra and Chorus and a luxury cast of soloists enchant in a concert performance of The Magic Flute at the Edinburgh International Festival.

Fluchten und Ankünfte in sinfonischem Großformat: Manfred Honeck und das BRSO beeindruckten mit ebenso grellen wie introvertierten Klängen bei einer EA und Schostakowitschs Fünfter.

Tyshawn Soreys Perle Noire: Meditationen für Joséphine hinterlässt eine unvergleichbare Note und individuellen Flair.

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

Does opera have room for film? And live video? Multiple screens and advertorials? And allusions to onscreen identity and cyber-immortality?

Superb singing from Joyce DiDonato and Jakub Józef Orliński lights up a curate's egg staging from Katie Mitchell.

Michel van der Aa zwingt das Publikum, sich mit der zukünftigen Möglichkeit, ewiges Lebens mittels AGI zu gewinnen, auseinanderzusetzen.

With its spare instrumentation and brilliant last songb, Montgomery's Five Freedom Songs could become a regular on the circuit.

American soprano Julia Bullock offered an impassioned, impeccably sung interpretation of Britten's Les Illuminations, bookended by elegant Ravel standards.

Fine performances by Julia Bullock and Cédric Tiberghien can't make up for the confusion of a fragmented, allusive narrative.

Dame Shirley’s texts are here sung by the young American soprano Julia Bullock whose pliable instrument and stylish way with words reveal an ideal storyteller.

Virtuoso modern stagecraft and a fine cast combine in a very enjoyable, present-day Rake’s Progress.

Adams and Peter Sellars demand that the audience take a cold, hard look at the Gold Rush and the founding history of California.

The Boston Symphony begins a new chapter revisiting a golden one from its recent past. Hatima tovah!

Simon McBurney's production of The Rake's Progress for Festival d'Aix-en-Provence begins with the equivalent of a blank page – a simple white paper box onto which he pours his inspiration.

At the Barbican last night, Gerald Finley, John Adams and the BBC Symphony Orchestra combined to deliver the heaviest operatic punch I’ve been subjected to all year.

Rattle and the LSO excelling in French music of the 20th Century by Ravel, Delage and Dutilleux.

In Peter Sellars' reconstruction of Purcell's unfinished semi-opera The Indian Queen, fine vocal performances are spoilt by indifferent staging and choreography and an embarrassing retelling of the Conquistador story.

“Music of doubt, music of questions, music of search”. This is how Peter Sellars, the stage director for this production of The Indian Queen, sees the music of Purcell in general and this piece in particular. Sellars has reportedly wanted to present his take on this semi-opera for decades. Finally, the Teatro Real, Perm Opera and English National Opera have joined forces to make it a reality.

Generally, opera doesn’t give old age much of a look-in, but the closing scene of Janáček’s The Cunning Little Vixen, written in Janáček’s old age, is an exception, as the Forester muses on the passing of time and the renewing cycle of life. In today’s Juilliard School production, Aubrey Allicock gave us the most touching and thoughtful of renderings.