Rechercher des critiques de musique classique, opéra et ballet | Lise Davidsen

Dans le ballet des chefs pressentis pour le poste de directeur musical de l'Orchestre de Paris, François-Xavier Roth a montré ses atouts dans Petrouchka.

The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame. 

Bruckner for the non-Brucknerian: the Philharmonia plays the Fourth with Schubertian delicacy at the Royal Albert Hall. 

Yesterday, the Bayreuth Festspielhaus, where devotees of Richard Wagner converge annually from all over the world, opened its doors again for this year’s festival. Traditionally presented on the first evening, the new production for this season was Tannhäuser und der Sängerkrieg auf Wartburg (to use the opera’s full name), presented to a capacity audience.

Lise Davidsen brilliert in Strauss' Vier letzten Liedern mit wunderbarem Ton der hohen Register ihrer Stimme.

Perhaps feeling that the drama and emotion of the Ring Cycle wasn't enough for one year, Antonio Pappano assembled a strong quartet and deployed the ROH's forces in a powerful, moving performance of Verdi's Messa da Requiem.

A standout performance from Stephen Milling complements all-round excellence of cast to provide a satisfying end to the Covent Garden Ring.

We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.

Antonio Pappano and the Royal Opera Orchestra get the Ring cycle off to a blazing start; unusually, it's Lise Davidsen and the female cast who take the vocal honours.

A quartet of superb soloists shine through an orchestral and choral performance of great precision to bring out Verdi’s powerful evocation of the terror of eternal damnation.

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

After a shaky start with Metamorphosen, the Oslo Philharmonic embodies the evening's theme of transformation by ending on a stonker of a Petruskha, via the perenially fabulous Lise Davidsen.

A fascinating modern production of Cherubini's masterpiece Medea. Lise Davidsen is especially noteworthy while the rest of the cast give luminous performances. 

Norwegian soprano Lise Davidsen’s Proms debut was just one highlight in a rewarding programme of Nordic and German music.

A superlative cast and perceptive staging make for a gripping revival of Strauss’s Ariadne auf Naxos at the Glyndebourne Festival.

A voice with the proportions of a cathedral; a higher register that's entirely secure; an attention to text. Rosenblatt Recitals gave a tantalising preview of a singer who will have a stellar career.

Lise Davidsen's Ariadne and Sara Hershkowitz' Zerbinetta shine in the Arctic Philharmonic's slightly lacklustre Ariadne auf Naxos

The storm prevailed under Stefan Solyom – perhaps inevitable with Shostakovich – but quieter moments in the Strauss were beautifully handled by Lise Davidsen.

Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.

Verdi’s masterpiece dazzled a packed Festival Hall on Thursday night. 

A feast for the eyes in Zurich, but is the visual stimulation in Herbert Fritsch's production of Der Freischütz just too much?

Frankfurt Opera's 2012 production of Götterdämmerung with its emphasis on the contemporary human issues was a successful conclusion of the revived Ring.

Sebastian Weigle leads a somewhat light-footed but satisfying account with a fine orchestra and good ensemble of singers in an architecturally stunning production.

Vera Nemirova inszeniert an der Frankfurter Oper ein etwas abgegriffenes Rheingold. Das Frankfurter Opernorchester unter Sebastian Weigle jedoch bereichert mit schlankem Wagner-Klang aus klaren Konturen und sicher gesetzten Effekten.

Operalia is a curious beast among voice competitions. Step onto the stage, belt out your aria and, before you’ve barely had time to acknowledge the applause, the next contestant shuffles along the conveyor belt. A one-shot saloon.