En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Evgeny Stavinsky

The only great success of composer Italo Montemezzi finds new life at La Scala, in a production by La Fura dels Baus with a solid cast, led by conductor Pinchas Steinberg.

Christof Loy's 2019 production proves even more compelling second time round, with excellent acting and a properly heroic tenor performance from Brian Jagde.

Les Arts concluyó la temporada con Ernani en una producción que concita tradición y modernidad, en torno a una lectura musical desprejuiciada y una versión basada en el drama gótico original.

Five highly dissatisfied lead characters find only disastrous or ambiguous outcomes. Yet there are few greater operas than this.

A lively and amusing Barbiere at the Teatro del Maggio Musicale Fiorentino, with Daniele Gatti expertly marshalling the talents of Ruzil Gatin, Vasilisa Berzhanskaya, Nicola Alaimo and Fabio Capitanucci in Damiano Michieletto's colourfully minimalist staging.

Rossini's Otello is rarely performed, mainly due to its three demanding tenor roles, but the Rossini Opera Festival delivers a knockout, both vocally and emotionally. 

For the 84th edition of its summer festival, the Teatro del Maggio Musicale Fiorentino presents its first ever production of Gounod's Roméo et Juliette.

The second cast of the season for Oliver Mears' new Royal Opera production augments the intelligent staging with superb singing and acting.

Christof Loy would seem to be the perfect director for Covid-era opera, his stripped back production of Verdi's rare middle period opera directed remotely from Austria.

Three Russian singers star in a revival of the Italian director's academy production from 2003. 

In Currentzis' vision, Verdi's Requiem was both a spectacle and a soul-searching exercise for the musicians, as well as for the listeners.

Angela Meade shone in the soprano solo, beautifully backed by leader Tamas Kocsis, in the passage that segues into the stunning "Abraham thou didst promise" section.

Dismembered after the 1840 bankruptcy of its promoter, Opera Rara's decade-long reconstruction has resulted in a beautifully constructed opera that's enjoyable throughout.

Nicola Raab puts Byron at the heart of Il corsaro in her new production for the Palau de les Arts, but doesn’t always know what to do with him.

Vick enjoys working with young singers, and in with the young second cast he is spoiled.

There’s a touch of Borodin bus syndrome around at the moment; you wait years for a production of Prince Igor, then two come along in succession. The first was from the Metropolitan Opera, directed by Dmitri Tcherniakov, swiftly followed by the Novaya Opera which brings its production from Moscow to London as part of the UK—Russia Year of Culture.