En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Erin Morley

Pour le dernier spectacle de la saison 2015/16, l’Opéra National de Lorraine a choisi une œuvre du répertoire, Lucia di Lammermoor, ce qui sans doute devait lui garantir à la fois une belle présence du public et un succès presque assuré. Pari réussi... seulement en partie.

Sous la baguette de Philippe Jordan, l’Orchestre ne fait pas un pli, accompagné de Chœurs et de chœurs d’enfants en très grande forme : on sait que ces pages, non contentes de sonner délicieusement à l’oreille des spectateurs, sont également un plaisir assez inégalé pour les musiciens.

Dans la nouvelle production de l'Opéra de Paris, Zabou Breitman porte L'Enlèvement au sérail de Mozart à l'écran glamour du cinéma muet. La vedette y a été volée par Anna Prohaska en Blonde.

Countertenor Lawrence Zazzo is more than at home in the role of Oberon, and possesses a vocal quality ideal for the scheming king of the fairies, simultaneously eerie and seductive.

Yannick Nézet-Séguin and Kevin Newbury see Candide as a coming-of-age story, placing it in their own high-school years, specifically 1992, making Westphalia a USA knockoff.

An unforgettable evening at the Met as John Dexter's production of Poulenc's masterpiece is revived to close the season. 

Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operatic or

Whether it’s half an opera, three quarters an operetta, or a musical and a half, Francesca Zambello’s team put together a production that was easy to fall in love with. 

Bartlett Sher's production of The Tales of Hoffmann, revived at The Met, takes a Kafka-esque, surreal view of the opera.

A superlative cast and perceptive staging make for a gripping revival of Strauss’s Ariadne auf Naxos at the Glyndebourne Festival.

There are several things wrong with the new Robert Carsen directed Der Rosenkavalier that just opened at the Met, but the singing is not among them.

It would be no exaggeration to say Franz Hawlata stole the show, an act of grand larceny made all the more remarkable by the strong cast which shared the stage.

The English Concert give us a truly exceptional concert performance of Orlando, starring Iestyn Davies in the title role, with a strong cast and glorious singing: but it's begging for a proper staging. 

Academy Award-winning actor Marion Cotillard's portrayal of Honegger's Joan of Arc was curious, exultant, yet unflinching. 

Great singing and acting from the Met's Tales of Hoffmann second cast. 

The Metropolitan Opera’s five-year old production of Offenbach’s Les Contes d’Hoffmann returned to the repertoire with a remarkable undertaking of the title role by Vittorio Grigolo.

Nathaniel Merrill’s production of Der Rosenkavalier opened at the Metropolitan Opera on 23 January 1969. Richard Nixon had been sworn in as President as the United States only a few days earlier. It is still in the repertory today, here revived with Edward Gardner conducting.

Not a new production, the Metropolitan Opera’s staging of Dialogues des Carmélites, originally directed by John Dexter in 1977, was nonetheless fresh and compelling in its approach and not at all tired, despite its age.

Read our review of Robert Lepage's production of Wagner's Götterdämmerung in its 2012 broadcast from the Met Opera in New York.