En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Esther Bialas

Dans le cadre de sa programmation estivale, l'opéra comique de Berlin proposait une nouvelle production de Barbe-Bleue de Jacques Offenbach.

La nouvelle mise en scène de Stefan Herheim se joue de tout pathos et convoque une esthétique hilarante, située entre la parodie de Disney et l’humour acerbe des Monty Python.

Cette Flûte Enchantée, aussi visuelle que musicale, est un spectacle pour tous, idéal pour initier à l’opéra les petits comme les grands.

Salome is faceless and the Dance of the Seven Veils becomes a sardonic commentary on seduction in Komische Oper Berlin's austere new staging. 

Herheim’s Fledermaus is a risky experiment that, miraculously, works – at least in a city that knows it so intimately.

Eye-popping, hand-drawn animation melds with Mozart's fantastical world and the silent film era to create a colorful and energetic new-to-Seattle production.  

Eine spannende Inszenierung und das Orchester in Topform sorgen für beglückende Premierenmomente. Schade, dass ausgerechnet der Interpret der Titelrolle stark enttäuscht.

Stuart Skelton als Grimes und Edward Gardner am Pult prägten Herheims imponierende Neuinszenierung von Brittens Oper am Nationaltheater.

Die selten aufgeführte Strauss-Oper wird im Nationaltheater mit einer Traum-Besetzung wiederaufgenommen.

El Teatro Real inicia la temporada 21-22 con una agitada producción de La Cenerentola de Rossini con dirección musical de Riccardo Frizza y esscénica de Stefan Herheim.

El Teatro Real abre su centésima temporada con una atrevida Cenerentola de Stefan Herheim.

La producción de La flauta mágica de Kosky y Andrade regresa tras 4 años al Real con renovado éxito.

La producción de la Komische Oper de Berlín de La flauta mágica se presenta de nuevo en el Teatro Real. Un montaje de inspiración cinematográfica que no acaba de reflejar los ideales del Singspiel de Mozart. 

Although Bard's production is only intermittently successful, the chance to hear this Korngold rarity live should be savored.

ENO's Merry Widow is big, brash, and more than a touch juvenile – but it's the most fun one can have at the opera.

Herheim pulls us in unexpected directions, makes us laugh and makes us think as we enjoy fine Rossinian music and singing in Opéra de Lyon's production.

Stefan Herheim packs puns and gags into a three-hour long show, but less could have been more. 

Despite the entertainment value and striking imagery, Kramer's production is a surprisingly dull affair, with curiously little chemistry between the lead couple.

The first staging of Bellini's Norma in Oslo in over a century is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show.

Barrie Kosky’s clever direction enlivens a Strauss rarity at the Bayerische Staatsoper but the minimalist stage setting sinks HMS Schweigsame Frau.

Mozart meets the movies as 1927's wacky production comes to Opera Philadelphia. 

Animated characters are the real stars of an imaginative production of The Magic Flute. 

Neither Sir Walter Scott nor Donizetti were well served by the farcical staging, but finally bellissimo bel canto prevailed over the production.

With his first foray into Rossini, Norwegian director Stefan Herheim turns La Cenerentola into a brilliantly funny spectacle, filled with thought provoking humour and outstanding singing.

Auch nach vier Jahren lockt die Produktion von Mozarts Evergreen das Publikum in Scharen ins Opernhaus und verspricht einen anregenden Abend.

The applause and screams at the premiere were raucously frenetic – and while the hysteria seemed a bit exaggerated, an energetically positive reception was completely justified.

Arriesgada y deliciosa recreación humorística de la obra mozartiana en clave de cine mudo, lejos de cualquier simbología o pretensión de profundidad

Ehe, Scheidung, Germany's next Topmodel und großartige Stimmen - diese Münchner Inszenierung verspricht einen spannenden Abend.