En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Adrian Tamburini

An over-enthusiastic audience distracts from an excellent performance of Mozart's Requiem Mass by the West Australian Symphony Orchestra and Choir with a first class quartet of soloists.

Although abbreviated, Pinchgut Opera's production of Handel's Rinaldo makes a powerful dramatic impact and exemplifies high musical values, with excellent orchestral playing and consistently fine singing.

Melbourne Opera's Walküre outdoes expectations, with really splendid singing and all-round performances, led by Lee Abrahmsen's Sieglinde. 

Erin Helyard and his cast bring terrifically strong musical values to Charpentier's Médée, but Justin Way's production falters. 

In arguably its best production to date, theatre luminary Neil Armfield combines with Pinchgut and Erin Helyard for the first time to deliver this electrifying production of Rameau's comic masterpiece, Platée.

Melbourne Opera has produced a critically and popularly successful Das Rheingold, which bodes well for the planned development of a full Ring cycle over the next four years.

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

A fine cast led by Maija Kovalevska conveys the timeless beauty and emotion of Puccini’s Parisian melodrama, but the 1930s Berlin setting remains an imperfectly realised transformation.

Wagner is a rare bird in Perth; the second *Tristan und Isolde* in 12 years worth the wait, no less for being a concert performance, and for bringing Skelton's masterful interpretation to an Australian audience

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

As clearly visible on all photos, the Sydney Opera House has two “sails”, interconnected major sections. One of them houses concerts, the other operas. Opera performances, however, are not exclusively taking place in the Opera Theatre.

One of the world’s great Carmens and John Bell’s smart direction is a winning combination for this Opera Australia production.

Splendid performances and a Nazi makeover turns Puccini's political tragedy into a visceral experience.

Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.

A revival of Francesca Zambello's production of Prokofiev's Love for Three Oranges at the Sydney Opera House is a joy, thanks to the antics of Kanen Breen at the head of a strong cast.

Director John Bell's chosen associations for his Carmen with Strindberg's Dance of Death and Albee's Who's Afraid of Virginia Woolf underlined an emphasis upon the fated couple's joint knowledge that nothing they can do will turn the tsunami that's leading to their deaths.

Julie Taymor's production maintains the magic of The Magic Flute at Sydney Opera House.