En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | David Pittsinger

Virtuoso modern stagecraft and a fine cast combine in a very enjoyable, present-day Rake’s Progress.

Ailyn Pérez draws every eye and ear to her in an easy-on-the-eye production that doesn't solve some of the work's inherent contradictions.

Simon McBurney's production of The Rake's Progress for Festival d'Aix-en-Provence begins with the equivalent of a blank page – a simple white paper box onto which he pours his inspiration.

Francesca Zambello stages a new production of Robert Ward's opera The Crucible at the Glimmerglass Festival in upstate New York. 

A righteous, politically-relevant but musically questionable world premiere of Philip Glass' revised Appomattox.

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.

Read our review of Laurent Pelly's production of Massenet's Manon in its 2012 broadcast from the Met Opera in New York.

In keeping with its summer season of novelties, San Francisco Opera have produced a new English-language production of Mozart's The Magic Flute. Advertisements for the production showed baritone Nathan Gunn in a green, full-body leotard as a sort of frogman of a Papageno, leaping in the air and wearing a manic expression.

The opera is way too dark. It runs far too long. It’s requires a soprano with vocal cords of amalgamated steel to sing the title role. No wonder Cherubini’s Medea is rarely performed. According to OPERA America records, the opera hasn’t been performed in the United States in nearly 20 years.

Read our review of Patrice Caurier and Moshe Leise's production of Ambroise Thomas­'s Hamlet in its 2010 broadcast from the Met Opera in New York.

Read our review of Luc Bondy's production of Giacomo Puccini’s Tosca in its 2009 broadcast from the Met Opera in New York.