En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Ian Storey

Impression mitigée au sortir de ce long voyage musical de près de quatre heures.

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

At its local Antwerp première, David Bösch’s new production of Erich Wolfgang Korngold’s Das Wunder der Heliane makes it the only house ever to have mounted twice.

The Comunale had teamed up with Bologna's basketball team Virtus to create a 50%-off ticket deal aimed at drawing new audiences. The subject matter of this opera might not seem the most immediately accessible, but this was playing to capture the imaginations of opera newbies.

A fascinating, psychologically penetrating reading of Verdi’s penultimate opera, performed to the highest standards, promises much for the new season at the Deutsche Oper am Rhein. 

The unclear ideas and the excessive blackness in Thalheimer’s concept failed to convince, but Stoyanov and Joel’s presentation of Verdi’s score made up for those problems.

An uneven yet unforgettable performance, thanks to conductor Jaap van Zweden’s seductive colouring of the score and Jennifer Wilson’s refulgent Isolde.

What happens when the director develops in directions the company neither wanted or expected? For San Francisco Opera’s new Der Fliegende Holländer, this discovery led to decisive action: director Petrika Ionesco was sacked just before the opening.

Early works by major composers can be fascinating. We try to see in them premonitions of the greatness to come, or hope they will cast light on a more familiar later work. The Opera Orchestra of New York’s concert presentation of Rienzi, Richard Wagner’s third opera, was fairly useless in this regard: most of Rienzi sounds nothing like mature Wagner.