En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Gerald Finley

Une mise en scène aussi amusante que brillante d'intelligence, un plateau vocal au diapason et un orchestre des grands soirs : Les Noces de Figaro présentées au Palais Garnier ont tout pour plaire !

L'Orchestre de Paris retrouve Nina Stemme et Gerald Finley pour une de leurs œuvres fétiches, Le Château de Barbe-Bleue. Pekka Kuusisto donne la création française du Concerto de Bryce Dessner.

Pour clôturer sa saison, la Philharmonie de Paris a réuni sur scène un casting idéal pour donner La Petite Renarde rusée de Janáček, mise en scène par Peter Sellars.

Entre l'imaginaire de Pedro Calderon, celui de Lewis Caroll ou encore de Jonathan Swift, cette nouvelle production signée Stefan Herheim invite à la réflexion sur la frontière entre folie et sommeil, illusion et réalité, amour et raison.

Oliver Mears' new staging impresses and Jakub Hrůša's first season as Music Director excites interest. But the evening belongs to Anna Netrebko.

The BBC's annual classical jamboree is launched in fine style with a premiere and a timely revival, conducted by Sakari Oramo. 

John Adams’ Antony and Cleopatra puts the composer's propulsive music at the service of both moments of riveting human drama and less effective scenes of battle and politics. 

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

Haydn und Brahms stehen am Programm eines eindrucksvollen Konzertes in der Philharmonie Berlin.

In Barrie Koskys düsterer Inszenierung standen gleich zwei Debütanten auf der Bühne an diesem Abend – und beide überzeugten.

Golda Schultz leads a fine cast in the fourth revival of Jan Philipp Gloger's Royal Opera production. 

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.

Sir Antonio Pappano leads the massed forces of the London Symphony Chorus and Orchestra in a rousing rendition of Felix Mendelssohn's oratorio. 

Heinrich Heine settings by Schumann and Schubert are counter-balanced by Duparc and Cole Porter in a Temple Song recital reflecting on night and day.

Christoph Marthaler siedelt Verdis letzte Oper an einem Filmset an und produziert dabei wohl keinen Kassenschlager; immerhin rettet die musikalische Seite den Abend vor dem Flop.

Amélie Niermeyers Inszenierung von Verdis Spätwerk fasziniert im unaufgeregt fokussierten Blick auf die Charaktere des Tragödienspiels.

Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival. 

Great vocal performances from Amina Edris and Gerald Finley grace John Adams' new opera, which opens San Francisco Opera’s centennial season.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

This Evangelist had just come straight from Golgotha, where he had witnessed events so momentous he was compelled to recount them at once.

It’s the title character who gets the best tunes in Ariodante and Irish mezzo-soprano Paula Murrihy ate them up. 

In Rautavaara's orchestrations of Sibelius songs, Gerald Finley enveloped every line in refined, sinuous curves, accentuating the music’s rhapsodic quality.

From Fauré and Duparc to Barber, Ives and Copland, the Canadian bass-baritone and Julius Drake explore a range of song.

After a few streamed events with chamber forces, the full orchestra and chorus returned to the House – albeit not in their usual positions – for an entertaining fundraising gala.

“Go big or go home” could easily have been the motto of this summer’s festival. Muti didn’t just go big. He went huge. 

Phelim McDermott’s Coney Island Così fan tutte returns to The Met, in sparkling vocal performances. 

Benjamin Britten's final opera hasn't been staged by The Royal Opera in over 25 years, but his setting of Thomas Mann's Death in Venice receives a great new production by Sir David McVicar. 

Walton's Belshazzar's Feast crowns a dynamic, daring programme from Sir Simon Rattle and the London Symphony Orchestra. 

Erstklassig besetzt und szenisch ins Heute geholt lässt Giuseppe Verdis Oper nicht nur Tenor-Fan-Herzen höher schlagen.

Messrs Rattle and Sellars bewitch the Barbican audience with a sumptuous rendition of Janáček's magnum opus. 

An evening of three Italian opera composers on the concert platform, crowned with a glowing performance of Puccini's rarely heard Messa di Gloria.

Bernard Haitink celebrated an early 90th birthday conducting the Bavarian Radio Symphony Orchestra and Chorus in a searching, joyous account of Beethoven's “Choral” Symphony.

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

Mit großem Staraufgebot und einer reduzierten Lesart von Giuseppe Verdis Otello setzte die Bayerische Staatsoper mit der ersten Premiere der Saison vor allem psyologische Akzente.

International duo give immaculate recital of Beethoven, Schubert, Tchaikovsky and Rachmaninov songs.

After staged performances in Baden Baden, the Berlin Phil's Parsifal is presented in concert at the Philharmonie, with a couple of key cast changes. 

Dieter Dorn’s staging robbed Wagner’s final masterwork of magic and mystery while Simon Rattle set new speed records.

Schubert song orchestrations with Gerald Finley are not wholly convincing, but the Berliner's virtuosity sweeps all before it in Strauss's Alpensinfonie.

The ninth revival of Jonathan Kent’s production features a great Act 1 and enjoyable Covent Garden role debuts for the three top singers, but misses the mark on the set pieces.

Ailyn Pérez draws every eye and ear to her in an easy-on-the-eye production that doesn't solve some of the work's inherent contradictions.

Rattle conducts Janáček's glorious score with unerring skill and barely concealed adoration, but is let down by his regular collaborator's muddy vision. 

At the Barbican last night, Gerald Finley, John Adams and the BBC Symphony Orchestra combined to deliver the heaviest operatic punch I’ve been subjected to all year.

In dieser Inszenierung funktioniert nicht alles, doch sie bietet reichlich Anregung zur Diskussion und einen Gurnemanz, der wohl jeden zum rechten (Wagner-)Glauben führt.

Gerald Finley's velvet baritone lights up this revival of David McVicar's production of Cilea's murder story

Gerald Finley displayed a voice still in its prime in a rich and diverse recital at the Barbican, elegantly supported by Antonio Pappano on the piano.

Fabio Luisi conducts a solidly cast Guillaume Tell with panache, Rossini's final opera returning to the Metropolitan Opera after a long absence. 

Mit einer fulminanten Schöpfung haben die diesjährigen Salzburger Festspiele begonnen und lassen auf einen abwechslungreichen spannenden Sommer hoffen.

Freiheit und Brüderlichkeit sind damals wie heute die zentralen Werte, die Europa ausmachen. Unter diesem Gesichtspunkt gegang das BRSO den Abschluss des Open Airs am Odeonsplatz it Beethovens Neunter Symphonie.

“Honour your masters!” Sachs instructs Walther in the final scene. Wagner's spirit was honoured well as Glyndebourne's festival opened, but did the song contest necessarily crown the right winner?