En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Alžběta Poláčková

The director drains the life out of an impassioned opera with a staging devoid of authenticity and ideas.

Directors Martin Kukučka and Lukáš Trpišovský, who work together as SKUTR, take on Dvořák’s Rusalka with a surfeit of ideas. 

Jakub Hrůsa, the Czech Philharmonic and a superb cast of singers give the full treatment to Smetana’s celebratory paean to the Czech nation.

Shostakovich's murderess comes to terrifying life in Martin Čičvák's smart, sensational production for the Prague State Opera. 

Armida offers a compelling story, resonant issues and the spectacle of dueling wizards – but unfortunately, not in this production.

The Spanish director's emotionally-sapped staging for the Prague National Theatre travels to Brno for the Janáček Festival.

The National Theater revives Jaromír Weinberger opera Schwanda the Bagpiper with energy, affection and overly active imagination.

Powerful visuals can't compensate for an otherwise empty production of Janáček’s gripping tragedy.

All the energy is in the pit in this flat production of a time-honored favorite.

Robert Carsen schafft eine subtile aber meisterhaft vielschichtige neue Inszenierung.

“Who's dead, you or the old man?” asks Leporello after Don Giovanni’s duel with the Commendatore. What if the answer was that they had both received fatal wounds?

Slovak director Zuzana Gilhuus' serendipitous production could hardly be more timely.

Magdalena Švecová's staging for Prague National Theatre wins hearts with ensemble work full of verve and costumes that are pure eye candy.

A twin tribute slices and dices the composer's life and leaves a bad aftertaste.

Tradition and modernity are a mismatch in this uneven production of Mozart’s comic masterpiece.

Krakatit, an opera composed in the shadow of the Cold War, remains frighteningly relevant.

Whilst the spirit of Mozart permeates the Estates Theatre in Prague, it was sadly absent in both the staging and singing of his “work of uninterrupted perfection”.  

Melly Still returns to revive her 2012 staging at Glyndebourne, laying nature bare. Cartoonish, but never sentimental, it presents Vixen red in tooth and claw, 

“What Czech does not like music?” declares Beneš, the jailor in Smetana’s opera Dalibor. Certainly not Jiří Bělohlávek, who is as superb an advocate for Czech music as any conductor in the world right now.

The fantasy characters prove to be more interesting than the real ones in a Czech treatment of Engelbert Humperdinck's fairy-tale classic.

Despite some outstanding choral work, the State Opera's new production of Boito's popular take on the Faust legend falls short of its heavenly aspirations.

Despite some staging problems, a Czech rarity gives the National Theater's new opera season a rousing start, with a vibrant score beautifully realized by conductor John Fiore.

The National Theatre in Prague should be the second-best place in the world to see Leoš Janáček's charming opera The Cunning Little Vixen. But its current production, new in the repertoire this season, is such a disappointment.