En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Svetlana Aksenova

Cent ans après le décès de Giacomo Puccini à Bruxelles, la maison belge propose une nouvelle production de son ultime ouvrage inachevé, dans une intéressante mise en scène de Christophe Coppens.

L'opéra peu connu de Rimsky-Korsakov bénéficie de la géniale mise en scène de Dmitri Tcherniakov et d'une distribution de toute beauté.

La production légendaire de Robert Carsen revient à l'Opéra de Paris, servie par un plateau soliste inégal. 

Dans le Requiem de Verdi, Violeta Urmana provoque une émotion durable sur les auditeurs parmi un plateau de solistes déséquilibré.

El Teatro Real presenta una producción excepcional tanto en lo musical como en lo escénico, en la que se alcanza un logrado punto de equilibrio entre la novedad y la tradición, entre la búsqueda conceptual y la sugestión sensorial.

The challenges of Cherubini’s version of the Greek tragedy prove too much for the National Theatre to overcome.

Franz Schreker's innovative study of artistic aspiration and despair gets a fresh look and loving musical treatment.

Director Lotte De Beer's thoroughly realized, aesthetically rich and beautifully executed production of Janáček's masterpiece is anchored by strong performances from Nina Stemme and Svetlana Aksenova.

Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.  

Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Dmitri Tcherniakov's staging turns Rimsky-Korsakov's opera into storytelling for an autistic boy, but does he deliver a fairy tale ending? 

Orchestra and chorus reach great Wagnerian heights in this new production by Christof Loy, a study of an artist in revolt against hypocritical sexual mores.

Apparently, the composer himself was a notorious cheater, we can assume that some of the unsavoury themes of his 1904 opera “Madame Butterfly” were close to the bone.

Calixto Bieito's Tosca, despite an intriguingly modern setting, fails to make sparks fly.

The role of the outsider struck a chord with Tchaikovsky, whose homosexuality alienated him from society. Stefan Herheim takes that identification as the central idea in his remarkable new production at Dutch National Opera.

Christof Loy’s minimalist staging for Khovanshchina at Dutch National Opera has the advantage of clarifying a reputedly fragmented plot.