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

Impeccable ensemble work in Dawn M Simmons' first foray into opera. 

Boston Lyric Opera decamps to a 1919 wharf shed for a production of Bartók's eerie two-hander, framed by four of Alma Mahler's songs. 

Yuval Sharon’s production of La bohème turns the opera upside down... with captivating consequences.

The white hot intensity and conviction of the duet between Santuzza and Turiddu encapsulated the strengths of this performance.

David Lefkowich takes Pagliacci into the big top for a contemporary treatment at the the Steriti Rink.

Jennifer Johnson Cano’s stamina and total commitment were exceptional in the East Coast premiere of Poul Ruders' opera. 

Boston Lyric Opera, with the approval of Bernstein's estate, recast Arias and Barcarolles as the further musings of Sam and Dinah. 

Muted portrayals dilute the danger of the work, but excellent singing saves the performance. 

Despite its title, the victims dominate Julian Grant and Mark Campbell’s caustic one-act opera. 

Boston Lyric Opera’s production of Le nozze di Figaro boasted a young, capable, and energetic cast, a lively staging, and an intimate venue to put it all across. 

If you think you know Carmen, think you know Calixto Bieto, then you definitely should head to the Opera House and have your eyes opened on both counts.

A complex portrait of obsessive and destructive passion.

Lyric Opera Production delivers a conventional Tosca to close the opera season. 

In James MacMillan’s Clemency, three strangers visit Abraham and Sarah. The aging couple make them welcome and receive the news that Sarah will bear a son – to Sarah’s disbelief. They appear to be angels, coming to bless the couple. But as the travelers prepare to leave, they reveal that their next stop is one of condemnation. The people of the twin towns, Sodom and Gomorrah, will be destroyed.

Imagine a tattered red curtain, blocking the set but revealing several bodies, bound head to toe in grey, hanging from the ceiling by their feet. It looks like the home of a malevolent, human spider - its prey a silent presence overhead. This is the opening of Verdi's Macbeth, at Boston Lyric Opera.

From the opening glissandos of Britten's opera, we know this is not Mendelssohn's A Midsummer Night's Dream. Where the Mendelssohn / Balanchine ballet is romantic, dreamy and reminiscent of an illustrated fairytale, Britten's opera borders on the nightmarish and eerie.