En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Michelle DeYoung

La démesure de Hugh Wolff bouscule et émeut dans la Symphonie n° 2 de Mahler, portée par un orchestre et un grand chœur en état de grâce. 

Rusalka revient à l'Opéra de Paris dans la mise en scène de Robert Carsen, qui prône le réalisme au détriment du merveilleux. 

La Philharmonie de Paris accueillait l’Orchestre du Conservatoire supérieur de Paris encadré par l'Ensemble Intercontemporain, pour une soirée consacrée à Ligeti, Kurtag et Bartók.

Dans ce texte d’une portée tellurique, qu’il taille et agence avec autant d’adresse que de respect, impossible de ne pas être subjugué par l’autorité et le tact naturels du chef estonien. Un très grand concert !

Claus Guth's new production at the Metropolitan Opera, originally seen at the Bolshoi in 2021, moves the action from biblical Judea to the era of the opera's composition. 

Alan Gilbert and his NDR Elbphilharmonie Orchester partner first Igor Levit, and then Michelle DeYoung and Gerald Finley, in a night of outstanding music-making devoted to the music of Bartók.

Yannick Nézet-Séguin combines the composer's unfinished Ninth Symphony, Te Deum and the motet Christus factus est to create an ultimate realization of religious faith and artistic expression.

Simone Young marks the start of her tenure at the helm of the Sydney Symphony with a performance that showcases the outstanding acoustics of the renovated Concert Hall.

Mahler did not compose an opera, but the writing in Das Lied is intensely operatic; Yannick Nézet-Séguin shows himself to be a great singer’s conductor.

Conductor Matthias Pintscher and soloists Michelle DeYoung and Sean Panikker offered a moving but uneven interpretation of Das Lied von der Erde.

Not at any point did Mr. Staples give the impression that he was summoned for the role on such a short notice

Spano marshaled the vast forces with sensitive balance in many moments. But the difficulty of achieving a proper blend amidst the thick timbral texture prevented the performance from reaching transcendence.

The Bournemouth Symphony Orchestra mark the Bernstein centenary with a performance of Chichester Psalms in Chichester Cathedral itself. 

This was a superbly assured performance in which Esa-Pekka Salonen marshalled his forces with a clear-sighted vision to carve out an account brimming with intensity, energy and commitment.

Robert Hayward was unafraid to 'go ugly' when need be in Jurowski's symphonically executed concert performance. 

The final instalment of the Hong Kong Philharmonic's Ring cycle merits the orchestra joining the international big league. 

What you will find in Mahler's Third is music which resonates with every part of your life. Esa-Pekka Salonen proves an indefatigable and sure-footed guide.

McDermott envisages Aida as a sister production to his team's mesmeric Akhnaten. But would the hypnotic juggling and glacial choreography work for Giuseppe Verdi's Nile epic?

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.

The Philadelphia Orchestra presented an exciting and fresh performance of Swan Lake selections and Bluebeard's Castle, led by its energetic music director Yannick Nézet-Séguin.

 Michelle DeYoung and Paul Groves were the soloists in Mahler’s late “symphony with solo voices.” The concert opened with a classically balanced reading of Schubert’s “Unfinished” symphony.

An evening of heavy-hitting, late Romantic symphonic and operatic repertoire by Bruckner and Wagner that was rich in artistry, if a little overwhelming for some.

The Met brought back its traditional staging of Tannhäuser with remarkable performances by the Orchestra, Chorus and soloists, with two outstanding male singers.

Some very fine singing and beautiful, if sometimes confusing, visual effects in Opera Philadelphia's Don Carlo.  

Earnest singing and dramatic insight made Das Rheingold with the Hong Kong Philharmonic a remarkable evening. 

The four-part concert, conducted by Franz Welser-Möst, emphasized Boulez's relationship with the orchestra as composer, teacher, conductor, and friend, with four musical works to illustrate those characteristics.

Two Eastern European masterpieces were given gripping readings by the City of Birmingham Symphony Orchestra under Edward Gardner.

Les occasions d’entendre les Gurrelieder d’Arnold Schönberg ne sont pas si fréquentes.

“The most beautiful sound an audience can make,” Dudamel told the expectant masses, “is silence.” They chuckled knowingly. Dudamel’s request was borne out of the obvious production being made of Tuesday night’s performance. The giant boom and manned onstage cameras indicated that the performance was indeed being filmed.

The Wagner bicentennial marches on, bringing grand sounds from practically every corner of the musical earth. What appear most frequently on concert programs are various extracts from the operas, such as the collection of preludes, overture, and vocal and orchestral excerpts offered by the Boston Symphony Orchestra and Daniele Gatti at Carnegie Hall.

The orchestra of the Metropolitan Opera House rarely gets out of its pit, but when it does, it plays at Carnegie Hall. Carnegie has a rather different acoustic to the Met – much more closely-held, much more intense – and its unforgiving glare occasionally presented one challenge too many for the MET Orchestra. Still, they acquitted themselves well in this matinée.

The Cleveland Orchestra closed its 2011/12 season on Thursday and Saturday, May 31 and June 2, with stirring performances of Giuseppe Verdi’s Requiem, with the orchestra’s Director of Choruses Robert Porco conducting the orchestra, the precisely-trained Cleveland Orchestra Chorus, and an unusually well-matched quartet of soloists.

Mahler's Second Symphony is most certainly epic and needs an epic performance to do it justice. The Sydney Symphony Orchestra and Sydney Philharmonia Choirs went some way to achieving this on Friday night. The symphony deals with weighty themes of life, death and resurrection and contains Mahler's own vision of immortality in its triumphant conclusion.

The Hong Kong Philharmonic Orchestra clearly wore its heart on its sleeves in naming the opening concert for the 2011/12 season “Heaven and Earth”. There could be no mistake in matching the works to the title. Saturday’s performance showcased the versatility and maturity of the orchestra in handling sharply divergent artistic intentions. When they wrote their Symphony No.

I sometimes wonder what it must have been like to have been at the first performance of today’s well-known master works. Bach’s St John Passion, for example, or Beethoven’s Eroica and Stravinsky’s Rite of Spring – and Mahler’s second symphony, the Resurrection.

Read our review of Dieter Dorn's production of Wagner's Tristan und Isolde in its 2008 broadcast from the Met Opera in New York.

Read our review of Zhang Yimou's production of Tan Dun's The First Emperor in its 2007 broadcast from the Met Opera in New York.