En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | James Robinson

From the chrysalis of a Broadway play and then to film, David Henry Hwang's M. Butterfly turns full cycle into an opera by composer Huang Ruo. 

The compelling story of boxer Emile Griffith's struggles with guilt and sexuality are not ideally rendered in James Robinson's new production.

James Robinson’s production allows the large cast of Catfish Row to interact like the old pals – almost family – that they are.

The Metropolitan Opera finally reopens its doors on a new season, staging Terence Blanchard's powerful work for the first time.  

The Met’s new production is directed by James Robinson, who has the characters interacting and listening to one another as if in real life – the inhabitants of Catfish Row have known each other for all of their lives and love, pray and grieve like family.

Eric Owens singt Porgy mit Leib und Seele und ist mit seiner charismatischen Ausstrahlung der unbestrittene Held dieser Oper.

Porgy and Bess isn’t a perfect opera, but English National Opera's new production is a strong one. 

Washington National Opera continues its cycle of social justice operas.

Mozart's intoxicating harem opera taken captive by the non-singing despot.

Samuel Barber's Vanessa, with a libretto by Gian Carlo Menotti, is rarely staged, but Santa Fe makes a tremendous case for the opera. 

James Robinson's production of Adams' Nixon in China hits its stride at San Diego Opera. 

Although opera, as a genre, is easily celebrated for its capacity to move and transport an audience, it is rare to be emotionally disturbed by one. Tobias Picker’s Dolores Claiborne, which received its world première by the San Francisco Opera this week, achieves such a feat. In doing so, it will certainly garner notoriety, both as well-deserved praise and well-deserved condemnation.

The short life and terrifying death of Joan of Arc are the subject of Arthur Honegger’s Jeanne d’Arc au bûcher ("Joan of Arc at the Stake"), a curious masterpiece of an oratorio dating from 1938. The nearly-forgotten work received a well-deserved resurrection by Marin Alsop and the Baltimore Symphony Orchestra at Carnegie Hall on Saturday night.