En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Latonia Moore

Première production à bénéficier de la nouvelle plateforme « Normandie Lyrique et Symphonique », la Tosca de David Bobée vaut le détour pour sa mise en scène saisissante comme pour son trio vocal principal.

A well thought-out, fearless, affirmation of hope which drew its listeners ever upwards into the realm of ecstasy.

Montreal's Orchestre Métropolitain launches its season with a Bruckner Ninth that includes both an orchestral introduction and a choral finale. 

An outstanding choral performance by nearly 300 singers of the BBC National Chorus of Wales and the Crouch End Festival Chorus lights up Verdi’s hybrid of opera and devotional music.

The Metropolitan Opera makes good on its promise to present more contemporary work, opening the season with Jake Heggie's gut wrenching tale of rage and redemption. 

The compelling story of boxer Emile Griffith's struggles with guilt and sexuality are not ideally rendered in James Robinson's new production.

James Robinson’s production allows the large cast of Catfish Row to interact like the old pals – almost family – that they are.

The Metropolitan Opera finally reopens its doors on a new season, staging Terence Blanchard's powerful work for the first time.  

Rising mezzo-soprano Raehann Bryce-Davis offers a gorgeously sung and grippingly acted portrait of Verdi's gypsy. 

The Met’s new production is directed by James Robinson, who has the characters interacting and listening to one another as if in real life – the inhabitants of Catfish Row have known each other for all of their lives and love, pray and grieve like family.

Eric Owens singt Porgy mit Leib und Seele und ist mit seiner charismatischen Ausstrahlung der unbestrittene Held dieser Oper.

Porgy and Bess isn’t a perfect opera, but English National Opera's new production is a strong one. 

Remarkable singers and magnificent sets successfully transpose Puccini’s Tosca to Nazi-occupied Rome, bringing home the horror of tyranny and how possible it is to occur.

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?

San Diego Opera's main stage offering proved that even a warhorse can remain thoroughly enchanting when a production looks and sounds as beautiful as this company’s Madama Butterfly.

In celebration of the Atlanta Symphony's long-term music director Robert Shaw, the orchestra, its celebrated chorus and four effective soloists, presented an aggressive and often loud Verdi Requiem, conducted by Robert Spano.  

Giuseppe Verdi’s Don Carlos has finally arrived, for the first time in the 21st century, as a much anticipated highlight of Opera Australia’s current season. 

Director Tatjana Gürbaca’s production of Aida in Zurich strictly underscores the psyche and emotional parrying of the principals.

Camels, fireworks, and a gigantic head of Nefertiti: the Sydney Harbour production of Aida is not short on spectacle. Among the cast, Latonia Moore is outstanding in the title role, with good support from Miljana Nikolic as Amneris and Michael Honeyman as Amonasro.

Aida typifies all that is grand about opera. Its exotic setting, majestic music, and dramatic love triangle can make for an evening unique among performing arts events. It’s not a bad way to close an opera season either. San Diego Opera did so on Saturday, capping a uniformly satisfying season with Zandra Rhodes’ vibrant production that was refreshing and at times thrilling.

Virtually every reviewer of Aida mentions elephants, generally only to note their absence: the elephant not in the room, as it were. Like most others, the current Opera Australia production was lacking in pachyderms, but few of last night’s audience will have felt short-changed.