En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Peter Bronder

Très attendue, cette nouvelle production – première incursion de l'acteur britannique dans l'opéra – brille surtout par sa beauté et son respect du texte de Tchaïkovski, moins par sa direction d'acteur et sa distribution inégale.

La production du metteur en scène polonais est de retour à Bastille et on a bien du mal à lui trouver des défauts, d'autant que la direction musicale de Susanna Mälkki est au diapason.

Boris Godounov pour la première fois à Bastille dans sa version originale de 1869. Casting excellent, mais la transposition dans l'époque moderne souffre de dissonances avec le livret et la musique de Moussorgski.

Joana Mallwitz makes her Royal Opera debut in the pit as Sir David McVicar returns to direct this revival of his much-loved 2006 show.

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

Alan Gilbert reaches a pinnacle at the end of his tenure at the New York Philarmonic.

I arrived at the Royal Opera House in the usual way, settled into my seat, and – could you believe it – the opera was gone!

Musik und Szene kommen in Christof Loys Deutung von Alban Bergs Wozzeck in Frankfurt zu einer perfekten Übereinstimmung, wodurch die Aufführung große emotionale Ausstrahlung gewinnt.

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

Vladimir Jurowski is a wily programmer. Pairing a concert performance of Rachmaninov's The Miserly Knight with extracts from Das Rheingold seemed a shrewd move.

Director Andrejs Zagars went for a multimedia presentation of Salome modernised to the 20th century, which had its moments, but left serious questions about deviations from Strauss’ score built around Oscar Wilde’s play unanswered.

The Chorus of Royal Northern Sinfonia do battle with Beethoven's monumental and challenging choral masterpiece.

The third part of Daniel Barenboim’s Ring cycle at the Proms proved to be similarly successful to the first two operas of the cycle, leaving both audience and conductor apparently delighted at its conclusion.The chief justification for “semi-staged” productions such as this is that they encourage greater focus on the music, and particularly on the orchestra.

A Beethoven cycle last year, The Ring this year: what will Daniel Barenboim bring to the 2014 Proms? Perhaps, given the recent success of extracts both at the Proms and at Lincoln Center Festival, the smart money is on Karlheinz Stockhausen’s 29-hour, seven-opera cycle Licht. Then again, perhaps not.