Rechercher des critiques de musique classique, opéra et ballet | Opéra de Montréal

L’Opéra de Montréal présentait samedi Dialogues des Carmélites, une production réunissant Serge Denoncourt et Jean-François Rivest. Pour rendre l’univers de Poulenc, ceux-ci ont respectivement fait le choix d’une mise en scène sobre et d’un orchestre expansif : un mélange qui, avec l’arsenal d’interprètes à leur disposition, a donné de brillants résultats.

Québec play of illicit love transformed into a memorable Opéra de Montréal world premiere.

An impressive trio of international singers carry Opéra de Montréal's traditional new production of this Verdi tragedy.

Opéra de Montréal's belated première of Strauss' take on the Greek tragedy is worth the wait, as soprano Lise Lindstrom and wunderkind conductor Yannick Nézét-Séguin lead an exciting, music-driven production.

Silent Night by Kevin Puts closes L'Opéra de Montréal's 2014-2015 season and is notable for revealing a formidable all-Canadian cast of principals.

Marie-Nicole Lemieux tackles Saint-Saëns' Dalila for the first time and exceeds all expectations. 

Pour l'ouverture de sa 35ème saison anniversaire, l'Opéra de Montréal a conçu Nabucco de Verdi comme une reconstitution de la première de l'opéra en 1842 : le résultat n'appelle aucune réserve.

Opéra de Montréal’s sumptuous production of Turandot at Salle Wilfrid-Pelletier is a grand spectacle in every sense, but misses on some of the finer details.

The Opéra de Montréal's production of Porgy and Bess is both an artistic success and a reaffirmation of the work's importance.

This November, the Opéra de Montréal celebrates Verdi’s bicentennial with a laugh, presenting his comic opera Falstaff. The revival of David Gately’s production, originally produced by Glimmerglass Opera and the recently deceased New York City Opera, received no shortage of snickers during Saturday’s première performance with Opéra de Montréal.

L’Opéra de Montréal opened its 2013/14 season with a revival of Léo Delibes’ major operatic success, Lakmé. Rarely performed today, the story revolves around a romance between a colonial British officer, Gérald, and a Brahma priestess, Lakmé, in 19th-century India.

Manon was not only central to Jules Massenet’s claim to international celebrity after its creation in 1884, it remains at the heart of the operatic repertoire and Massenet’s popularity today. Manon returned to the stage of L’Opéra de Montréal on 18 May after a lengthy absence to close the company’s 2012/13 season.

The Atelier Lyrique of the Opéra de Montréal has a long tradition of nurturing incredible vocal talent, such talent which quite often develops into successful international careers in opera. It is, essentially, a young artists program for the most hard-working young singers in the region.

Visceral. Frightfully real. Paralyzing in its potency. These are words which I might use to try and describe Jake Heggie’s opera Dead Man Walking.

According to General and Production Director Pierre Dufour, tonight’s production of Die Fledermaus, or in this case La Chauve Souris, was to be in the style of the vaudeville and burlesque. Set in 1930’s upper class Montréal, the production was purchased from Opera Australia though Stage Director Oriol Tomas’s conceptual influence would prove wholly original.

Opera houses around the globe are clamoring to celebrate the much-anticipated 200th year since Richard Wagner’s birth, and tonight the Opéra de Montréal offered the composer’s first real theatrical triumph, Der Fliegende Holländer, to an eager audience.

According to the young stage director Oriol Tomas, “We are immersed in an eternal and mythical Spain, as it was perceived in the mid-19th century. It’s got all you could ask for: passion, fire, vengeance, mystery and fratricidal war, along with love, sacrifice, lyricism, and loyalty. A story of impossible love plays out against a backdrop of medieval war.

Rusalka is a strange love story—one that ends with a man dying in the embrace of a woman (as opposed to the classic opposite). The story’s end finds no closure, but instead acts as the birth of a fearsome Czech folktale about a water nymph who is doomed to ensnare young men. And finally, the opera contains but one ‘love aria’ which appears in the final scene, and ends in tragic death.