En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Olivia Fuchs

À la Royal Academy of Music, Semele de Händel offre une expérience jubilatoire et rafraîchissante. Mise en scène ingénieuse et jeunes chanteurs talentueux sont au menu de cette production.

Die Inszenierung überzeugt in einer Kombination von klassischer Ausstattung und moderner Focussierung auf die Psychologie der Figuren. Die musikalische Umsetzung ist exzellent. Tschaikowskis Oper wird zu einem packenden Seelendrama von Figuren, die in überkommenen Mustern verstrickt sind. 

Orla Boylan’s creation oozes charisma and reeks of entitlement, driven to emotional cruelty by the lassitude of a life too-long lived.

Olivia Fuchs' production of Rimsky-Korsakov's charming fable for ETO begins its tour in Hackney and is worth travelling to see. Catch this thoughtful production in a town near you.

Strong vocals from the three principal singers and a sure musical direction from young conductor Farrell help offset some of the less than convincing elements to Olivia Fuchs' production. 

Olivia Fuchs solves the problems of Britten's thorny opera in a brilliant new production that hits the heights, featuring Mark Le Brocq as earthbound scholar, Gustav von Aschenbach.  

Upcycled and recycled, a green production of Verdi's final opera is directed by Olivia Fuchs. 

Olivia Fuchs directs Monteverdi's early opera in a sparse staging with a consistently fine cast. 

Olivia Fuchs gives a powerful staging of Janáček's morality tale of the perils of eternal youth, with an excellent cast, but there are reservations about the title role.

Janáček's woodland fairy tale proved a superb ensemble choice for the festival's Emerging Artists program.

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

Royal Academy Opera maintains its usual high standards in a production of Handel’s operatic oratorio, a showcase for the singers of the future.

The Birmingham Contemporary Music Group present an ambitious mixture of experimental chamber music and disquieting monodrama. 

Problems of orchestral balance cloud Olivia Fuchs's straightforward, compelling staging of Janáček’s tirade against the rigidity and hypocrisy of small town society.

Gloriously sung and stylishly played, this Rosenkavalier is a feast for the ears and eyes and should be heard without delay. 

Perhaps not a masterpiece, but worth exploring, Mascagni's Iris returns to Opera Holland Park. 

A Midsummer Night's Dream meets Saturday Night Fever in this glamourous, heady, glitter-strewn performance at Trinity Laban, directed by Olivia Fuchs. 

James MacMillan has honed his first opera Inés de Castro into an unmissable evening:  unspeakably gory but utterly thrilling.

An excellent orchestral performance and fine singing from Yvonne Howard and Heather Shipp make Opera Holland Park's Norma well worth seeing, in spite of imperfections.

The story of Hansel and Gretel is at least 200 years old – the Brothers Grimm, those avid collectors of German folklore, first published it in 1812. And this well-loved tale’s longevity is something that Garsington Opera’s new production draws attention to from the outset. During the overture, a group of shadowy figures drop pages from a book, which Hansel and Gretel collect with glee.

Audiences have come to look forward to the annual co-production between Scottish Opera and the Royal Conservatoire of Scotland, where student opera singers, orchestra players and backstage crew get a chance to partner up with their professionals across the other side of Glasgow’s Hope Street.

Howling, gusting wind. Damp, bitter cold. Dark, gathering twilight. Exactly the right atmosphere, you must agree, for Donizetti's Lucia di Lammermoor, based on Sir Walter Scott's romantic historical novel of dark deeds in the grim castles of the Scottish clans, which opened Opera Holland Park's new season.