En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Martin Pakledinaz

Si la direction de Gustavo Dudamel et la mise en scène de Peter Sellars rendent justice au chef-d'œuvre wagnérien, la distribution inégale suffit à ternir le tableau.

En guise d'ouverture de saison à l'Opéra de Paris, le Tristan de Peter Sellars et Bill Viola laisse les wagnériens sur leur faim, malgré un grand Philippe Jordan.

Iolenta et Perséphone sublimées : vibrant hommage à la Lumière par l'Opéra de Lyon.

It's 33 years since its premiere in Brussels, and in its eighth season in New York at the Brooklyn Academy of Music, this irreverent American classic is still firing on all cylinders.

This irresistible Nutcracker is a reliable delight in an increasingly unreliable world.

Harry Bicket brings verve and distinctiveness to a stellar cast in Stephen Wadsworth's production, which is neither conventional nor daring.

Helgi Tomasson and Yuri Possokhov's restaging of the 1869 Petipa classic brings a sunny smile to faces in San Francisco. 

With Tchaikovsky’s dear, familiar overture, the reassuring sameness of Wendall K Harrington’s slide show projecting 1915 San Francisco scenes onto the curtains, we were all, most decisively, back. 

Sumptuous costumes, brilliant colors, excellent dancers create a glorious show which is unfortunately too long for the material. 

In Helgi Tomasson's production, Michael Yeargan’s scenic design and the late Martin Pakledinaz’ sumptuous costumes create a scene so charming, you just want to climb inside and stay in that world all evening and beyond.

A very fine performance, notable for the musicality which imbued each dancer’s presence and the excellent acting which kept the audience glued to the story.

Mozart Dances is a great piece of work and when paired with Garrick Ohlsson and the Mostly Mozart Festival Orchestra, it’s a terrific night at the theater.

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence.