En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Avery Amereau

La prise de rôle de Léa Desandre fait l’événement, tandis que la direction de Thomas Dunford marque une belle étape dans sa carrière de chef, avec un ensemble Jupiter aux effectifs renforcés.

L’Opéra de Genève s’offre une trilogie autour de Figaro, avec notamment un Mozart pétillant. Il ne restera plus qu’à découvrir le « Figaro gets a Divorce » d’Elena Langer qui viendra clore cette triologie proposée par le Grand Théâtre de Genève. 

The Austrian conductor's loudest fortes and softest pianos pull together a dramatic arc from the Requiem, other Mozart works and chant. But it's not really a funeral. 

Projection proves a problem for the singers, but this Theodora at BOZAR is nevertheless full of musical and spiritual beauty.

Im letzten Moment vor der Premiere durch eine Einspringerin gerettet: Strauss' Spätwerk beeindruckt mit straffer Regie und süffig schillernder Musik.

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

Evgeny Titov's new production is heavy on the jokes and light in substance, but delights anyway thanks to its high-class cast. 

Margaret Atwood’s dystopic novel, masterfully adapted for the operatic stage, is strongly performed at ENO and rings even truer today than it did when it was written.

Evgeny Titovs Inszenierung und Stefano Montanaris energiegeladenes Dirigat machen große Lust, sich in Mozarts oft gespielte Oper wieder zu vertiefen.

Substitute contralto Avery Amerau makes a fine Boston Symphony Orchestra debut in a top notch evening of (mostly) French music.

Im Gegensatz zu Benedict Andrews’ fast nihilistischer Beziehungssicht besticht Vladimir Jurowski in seiner ersten Münchner Mozart-Produktion durch feinen Klangintellekt.

 Poul Ruders’ The Handmaid’s Tale comes home to English National Opera after 20 years in a powerful new production by Annilese Miskimmon.

A great cast of exciting singers seals a success in Lille, despite a new production which fails to convince.

An astonishing performance by Asmik Grigorian is central to the Italian director's disturbing reading of a disturbing opera.