En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Jana Kurucová

Herheim’s Fledermaus is a risky experiment that, miraculously, works – at least in a city that knows it so intimately.

Aided by spirited singers and enthusiastic musicians, director Ondřej Havelka brings an imaginative, ironic touch to a lesser-known Smetana opera.

In Tcherniakovs neuer Inszenierung an der Staatsoper Hamburg ist Asmik Grigorian nach fünf Jahren endlich wieder als Salome zu erleben.

Herheim’s maiden voyage in his new capacity as Intendant confirms his ability to deftly negotiate a less-than-straightforward work with care and ambition and add his own voice enthusiastically to the mix.

Laurent Pelly's long-standing production of Offenbach's opéra-fantastique returns to the Deutsche Oper Berlin, under the baton of Emmanuel Villaume.

The Opernhaus Zürich revives Christof Loy’s production with a new young cast under the baton of Fabio Biondi.

Stage director Ole Anders Tandberg casts Carmen as the leader of a gang of human organ dealers.

The Dvořákʼs Prague Festival opens with an upbeat treatment of one of the composer's masterworks.

Enjoy this light and elegant opera buffa based on the play by Pierre Augustin Caron de Beaumarchais before year's end, as 2016 marks the 200th anniversary year of its premiere.

Mit enormer Ausdruckskraft verleiht Evelyn Herlitzius den zwei Seiten der Emilia Marty stimmlich und darstellerisch nuancierte Gestalt.

After his final opera, Falstaff (1893), Verdi founded a home for retired musicians. Director Christof Loy related these two achievements by setting the opera in the nursing home...

A rare chance to hear Meyerbeer's comic opera Dinorah performed in a concert version by the Deutsche Oper Berlin leaves the reviewer concurring with the verdict of history.

Le nozze di Figaro in Götz Friedrich’s vintage production at the Deutsche Oper Berlin provides an entertaining evening. 

Christof Loy’s new production of Falstaff for the Deutsche Oper Berlin is a conundrum. While the opera itself tells a story of comeuppance, Loy’s production seemed to be about the positive physical effects of playing pranks on your neighbors.

Nabucco opened the season at the Deutsche Oper Berlin, marking the first time in the company’s 100-year history that Verdi’s opera has been performed. Directed by Keith Warner, known for his often flamboyant productions, and conducted by Andrea Battistoni, the opera was warmly received by a delighted audience.