En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Anne Schwanewilms

L’Orchestre de la Suisse Romande, aux aguets, provoque l’émotion… Sous la direction attentive et exigeante de Sir Mark Elder, la phalange genevoise offre une palette énorme de nuances sans jamais arriver au point de rupture. Quand l’intelligence est au service de la musicalité, la musique en sort toujours gagnante !

At the Enescu Festival n Bucharest Vladimir Jurowski celebrates the centennial of Die Frau one Schatten’s premiere.

Mark Elder conducts Mahler 2 with The Hallé in a measured but utterly compelling performance at Bridgewater Hall

The label “most opera directors” does *not* apply to Barrie Kosky, who makes his Bayreuth debut with a Meistersinger that pulls no punches.

Gidon Kremer, long-time champion of Sofia Gubaidulina, joined the Berliner Philharmoniker and Christian Thielemann for a performance of In tempus praesens.

Die Münchner Opernfestspiele präsentierten eine Lohengrin-Produktion, die nur bedingt dem Festspielniveau entsprach. 

Ines Galler, Anne Schwanewilms und Thomas Hampson als Garanten für einen gelungenen Abend

In Mahlers Zweiter führte Gergiev die Philharmoniker und den Philharmonischen Chor souverän und deutet eine exzellente Zusammenarbeit an.

The fortunate audience of Barcelona's Liceu has much to enjoy a wonderfully performance of Arabella conceived as an intimate drama of human psychology.

For this diamond jubilee as a conductor, Bernard Haitink conducted the Netherlands Radio Philharmonic in a programme of Wagner, Berg and Mahler. 

Technically dazzling performances are curiously subdued at Cadogan Hall on Monday lunchtime chamber prom.

Whooping horns, a single yellow rose and a velvety cushion of strings set the scene for a sumptuous tranche of highlights from Der Rosenkavalier in the London Symphony Orchestra’s latest concert commemorating Richard Strauss in his 150th anniversary year.

Good versus evil, only evil wins. Wagner's Lohengrin fills the Madrid night with questions about what trust is and what it takes to maintain it.

The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.

Richard Strauss and Hugo von Hofmannsthal began their collaboration on Die Frau ohne Schatten (The Woman Without a Shadow) with utopian ambitions. Unfortunately they weren’t the same ones. For Hofmannsthal, this would finally be the opera where his poetry would be illuminated by rather than buried under the music.