En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Bernadett Wiedemann

En cette année 2015, Le Vaisseau Fantôme est à l'affiche du festival Wagner de Budapest. Malgré une belle distribution dans l’ensemble et un orchestre inventif sous la baguette d'Adam Fischer, la production de Balázs Kovalik est assez contestable.

Attila Mókus's dramatic baritone was scornful at one moment, tender, distressed, vengeful, or broken in mourning at others, vocal signposts in Rigoletto’s descent into the hell of his own making.

András Almási-Toth production of the original version of Mussorgsky's historical epic underwhelms in Budapest. 

Monteverdi’s last opera, recomposed by Máté Bella for a modern orchestra and a jazz combo, is an over-the-top, glitzy romp with plenty of casual sex and even more casual violence.

The Hungarian State Opera's revival of The Magic Flute lacks a little magic. 

The battle of the choirs is a thrilling moment in just about any performance of Dutchman, but produces shock and awe in the live acoustics of Budapest's Bartok Bela Concert Hall.

The acting was patchy and the singing ranged from serviceable to laudable in this dazzling new production at the Budapest Spring Festival.

A new production of Humperdinck's charming opera fails to enchant at the Erkel Theatre. 

Polish opera director Michał Znaniecki created a new version of Zoltán Kodály’s 1927 The Spinning Room, a short one-act which is basically a collection of 21 Hungarian folksongs that Kodály had selected from the Székely region.

The big man in the fat suit rules the show, briging vigour and joie de vivre to Hungarian State Opera's Falstaff.

The devil may not get all the best tunes in Gounod’s Faust, but Gábor Bretz certainly stole the show in this new production at Hungarian State Opera.