En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Evan Rogister

Le metteur en scène Michel Fau ne répond pas à toutes les questions que suscite l'ouvrage bipartite de Richard Strauss. Sous la direction énergique d'Evan Rogister, la distribution suscite l'enthousiasme.

Adaptation de l’œuvre de Victor Hugo, l’Ernani de Verdi capte les tensions de la société d’Ancien Régime révélée par un amour impossible entre Elvire et ses trois prétendants le roi Don Carlo, le vieux duc Donc Ruy Gomez de Silva et celui qu’elle aime en secret Ernani. Les adeptes du bel canto seront servis durant cette soirée.

This abridged version of Massenet's Cendrillon was clearly chosen for a wide Sydney audience, succeeding as a popular offering in the Australian summer holiday season. 

Mariame Clément wants her cake and eats it in a thought-provoking production that explores Mozart’s opera through Leporello’s perspective.

Forced to shift to online for the third episode of its Ring cycle, Göteborg Opera delivers absorbing new production by Stephen Langridge.

Lots of people talk about keeping opera relevant. WNO shows why this opera always has been.

Staging the story of the Italian political figure Rienzi as that of a dictator in 20th-century Germany was an inspired idea. This revival was a rare occasion to experience Wagner's early opera. 

Young soprano Cornelia Beskow impresses as Tatyana in an all-Swedish performance of Tchaikovsky’s masterpiece.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Francesca Zambello’s engaging Aida opened the season at Washington National Opera, eventually getting into its stride. 

WNO integrate dance and song to capture the soul of Carmen for the opening of their 60th anniversary season. 

Outstanding vocal performances and Oscar Wilde's own words don't save this new opera based on his incarceration at Reading Gaol. 

The Dallas Opera adds a light touch to a Richard Strauss' decidedly unfunny opera Salome, featuring soprano Deborah Voigt in the title role. 

Of all the mischievous dramatic reversals that line Rigoletto’s plot – the hunchbacked jester tricked into abducting his own daughter, the daughter tricked into loving the brainless Duke (posing as a penniless student), and the terrifying reunion of father and daughter in a scene of murder – is not the most breathtaking, after all, the fact that the opera begins with a convincing display of the de