En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | David Gately

Presented without staging, Seattle Opera’s concert Daphne places Strauss’ extreme vocal demands and saturated orchestral writing in sharp relief, offering a high-risk encounter with a rarely heard late opera.

Colorful sets and lavish costumes greet Seattle audiences as live opera finally returns to the McCaw Hall. 

As part of its 85th season, Philadelphia's Academy of Vocal Arts presented a Le nozze di Figaro excellent in voices, singing, acting, conducting, orchestra, direction, sets and costumes.

Philadelphia’s Academy of Vocal Arts presents a wonderful Puccini double bill of Suor Angelica and Le villi.

This November, the Opéra de Montréal celebrates Verdi’s bicentennial with a laugh, presenting his comic opera Falstaff. The revival of David Gately’s production, originally produced by Glimmerglass Opera and the recently deceased New York City Opera, received no shortage of snickers during Saturday’s première performance with Opéra de Montréal.

The Fort Worth Opera closed their 2012 Festival on Sunday afternoon with the second of two performances of Mark Adamo’s Lysistrata, or the Nude Goddess. After hearing a strong Marriage of Figaro at the festival Friday evening, I had fairly high expectations, some of which were met, others not.

Some operagoers contend that Carmen, the fatalistic gypsy doomed to die, is unlikable. She antagonizes other women at the cigarette factory. She seduces men with abandon. She makes an inexperienced corporal of the guard fall for her, manipulates him into abandoning his military career for a life of smuggling, and then heartlessly turns him out like a pesky stray.