En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Christopher Job

Angel Blue and Jonathan Tetelman star in a revival of Nicolas Joël’s 2008 production of the Italian master’s sole attempt at crossover. 

An attractive supporting cast isn't sufficient to bring this revival of David Alden's Ballo in maschera to life in New York. 

The Metropolitan Opera makes good on its promise to present more contemporary work, opening the season with Jake Heggie's gut wrenching tale of rage and redemption. 

Aleksandra Kurzak's lyrical Tosca brings out the woman behind the caricature in this revival of Sir David McVicar's lavish production.

Dudamel and the Los Angeles Philharmonic unleash the darkness of Verdi’s late masterpiece Otello upon the picnickers at the Hollywood Bowl. 

In the Brokeback Mountain, Wuorinen's  powerfully depicts the stern landscapes, the omnipresent menace, the desolate life of the characters and their awkward interactions.

Salonen's tribute to Gehry, Yasuhisa Toyota and Deborah Borda seems to come more from his brilliant visual palette than his emotional heart. 

Whenever a relative opera novice or occasional toe-dipper tells me how he or she cried at the end of La bohème, I want to send them to La fanciulla del West. Of course I choke up at the end of Bohème – who doesn't? – but for a good bawling session, the fabulously maudlin finale of Fanciulla is the place to be. The plot doesn't bode well.

A concert performance of Dvořák’s Dimitrij opened the fourth season of Boston’s intrepid Odyssey Opera, constituting the US première of Milan Pospíšil’s 2004 critical edition of the original 1882 score. 

“Poetry and again poetry – tenderness mixed with pain; sensuality, a drama surprising and burning, and a rocketing finale.” This is composer Giacomo Puccini describing one of the world’s most famous operas, La bohème.