En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Diego Torre

Lyric Opera of Kansas City ends its season with Garnett Bruce's blockbuster production of Puccini's Turandot. 

Shawna Lucey directs verismo's inseparable twins in the Lyric Opera of Kansas City's outstanding season opener. 

Paradise is lost and greed is good in this stunning retelling of Puccini's ageless opera.

Sydney may possess the most iconic opera house in the world, but Opera Australia ventured outdoors once more for a successful rock 'n' roll-themed Carmen on Cockatoo Island, with a stage positioned at water's edge.

A mid-performance jump-in by tenor Thomas Strong saves the show on the opening night of this revival of Graeme Murphy's production.

187 years after its Parisian debut, Halévy's La Juive receives its Australian premiere. A sterling cast under Carlo Montanaro reveals some unexpected beauties (and occasional longueurs) in this classic of French grand opéra.

John Bell's reworking brings Tosca to 1943 Nazi-ruled Rome, featuring gorgeous sets and Carmen Giannatassio's striking Opera Australia debut in the title role.

A mixed-bag of an evening at the Sydney Opera House, with a production of Ernani imported from La Scala failing to solve the inherent challenges of the work, despite good performances from the cast.

Livermore updates the scene to the 1930s, but seems to be setting Mussolini's Italians against invading Germans. 

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

Remarkable singers and magnificent sets successfully transpose Puccini’s Tosca to Nazi-occupied Rome, bringing home the horror of tyranny and how possible it is to occur.

An outstanding cast headed by Karah Son in the title role provides a fitting send off for Opera Australia’s much-loved production of Madama Butterfly in Sydney

A vividly dramatic take on Verdi's Requiem by Opera Australia allows chorus and orchestra to shine under Renato Palumbo, and reminds us why the work has been called “opera in church clothing”.

Damiano Michieletto's inspired intertwining of the standard double-bill of Cavalleria rusticana and Pagliacci makes for vivid storytelling, the whole supported by an excellent cast solidly directed by Andrea Licata.

Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.

A relative rarity by Verdi is given an outing at the Sydney Opera House, with excellent performances let down by a disappointing staging. 

A seamless combination of State Opera of South Australia and the Adelaide Symphony Orchestra have created a Verdi Requiem the equal of which it would be hard to find.

Giuseppe Verdi’s Don Carlos has finally arrived, for the first time in the 21st century, as a much anticipated highlight of Opera Australia’s current season. 

The aftermath of an unfortunate tug of war between love and lust entwined in a city gripped by enemy occupation, Tosca’s story digs deep into the human heart. 

“I would ask what the management’s drama has in common with mine. The title? No. The poet? No. The period? No. The place? No. The characters? No.” This excerpt from Verdi’s legal proceedings against the management of San Carlo, who were trying to foist changes on Un Ballo in Maschera, came vividly to my mind last night at Sydney Opera House.

Vincenzo Bellini’s operas are not among those that are played most often in Norway. This Saturday’s concert performance of I Capuleti e i Montecchi at the Norwegian Opera in Oslo was the second ever to take place in Norway, the first being a concert performance in the Oslo Concert House back in 2001.

In an attempt to persuade Attila the Hun to spare Italy from the scorch and burn policy, the corrupt Roman general Ezio says, "Avrai tu l'universo, resti l'Italia a me," ("You can have the universe, but leave Italy for me").

After the untimely passing of Salvatore Licitra, touted the “new Pavarotti”, in a motor-scooter accident earlier this month, I hardly dare suggest anyone as potential successor to the lyric tenor of the finest Italian tradition, lest he be jinxed. Yet, I would be doing a great disservice to Mexican tenor Diego Torre if I didn’t even make a passing mention of his possible candidacy.