En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Insung Sim

La mise en scène d'Anna Bernreitner place l'opéra mozartien dans un univers de bande dessinée et de dessin animé qui rend l'ouvrage passionnant pour les novices comme pour les inconditionnels de La Flûte.

Macbeth de Verdi revient sur les planches toulousaines plus de 20 ans après sa dernière représentation dans une magnifique coproduction.

Pour l’ouverture de la saison du Teatro Regio de Turin portait à l’affiche le très célèbre Aïda de Giuseppe Verdi. Le montage du chef-d’œuvre amenait une collaboration inédite avec le Museo Egizio de la ville, considéré comme l’une des collections archéologiques égyptiennes les plus riches du monde après le Musée du Caire.

La saison lyrique du Théâtre du Capitole s’achevait avec le dernier des opéras de Puccini : Turandot, œuvre inachevée, terminée par son compatriote Franco Alfano.

Jorge de León, en el rol titular, dominó la escena en el segundo reparto de la producción de Otello que abre la temporada del Real.

El Teatro Real abre la temporada con la producción de David Alden de Otello en la que brillaron la dirección de Nicola Luisotti y la actuación de Asmik Grigorian, pero con un resultado general algo tibio.

Eye-popping, hand-drawn animation melds with Mozart's fantastical world and the silent film era to create a colorful and energetic new-to-Seattle production.  

Katie Mitchell's provocative staging is revived to great effect, elevated by glorious music-making led by Nadine Sierra's sensational Lucia. 

The first instalment of Covent Garden's new Ring is excellent all round from orchestra and voices, with Barrie Kosky providing plenty of ideas to tease us as to how the cycle will continue. 

This is an Aida for the 21st century, with many pertinent things to say about oppression.

Olivier Py's new production at La Scala is inspired by art depicting the Temptation of St Anthony, but turns out to be disappointingly tame.

This Requiem was a gift to Music Director Corrado Rovaris for the anniversary of his twenty years with the company.

The Queen of the Night appeared as a malevolent giant spider, complete with exoskeleton, threatening Tamino with her stabbing limbs and summoning hordes of smaller spiders to writhe over Pamina when the latter hesitated to commit to Sarastro's murder.

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.

Stefano Poda's staging has its own coherence, but it is as cold as the Chinese princess. 

The London Philharmonic’s concert performance of Enescu’s Oedipe proves an extravagant but triumphant way to launch the orchestra’s new Royal Festival Hall season.

Vladimir Jurowski and the LPO gave a stunning performance of Enescu’s operatic masterpiece, despite a dramatically limp concert staging.

An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.

After all the speculation, Jonas Kaufmann made his role debut as Otello at The Royal Opera – an impressive, if not unqualified, success. 

Johan Reuter leads an all star cast in a revelatory performance of George Enescu's masterpiece, aided by spectacular La Fura dels Baus staging.