En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Katherine Broderick

Première de Fidelio triomphale à l'Opéra Comique, où Katherine Broderick (Leonore), arrivée quelques heures avant le lever de rideau pour remplacer la soprano défaillante, sauve non seulement Florestan... mais aussi la soirée !

Pour son premier opéra de sa saison lyrique, l'Opéra de Montpellier a présenté une superbe version de Lohengrin de Wagner. Version de concert d'une grande qualité musicale ! 

The closing concert of this year’s Three Choirs Festival in Hereford delivers a dramatic account of Mendelssohn’s Elijah, showcasing the power of bass-baritone Matthew Brook.

Peter Mumford's intelligent staging concept and a knockout performance by a reduced Philharmonia Orchestra made this a night to remember.

In the second concert of the new season, maintaining the highest musical standards, the Ulster Orchestra flourish in a highly considered programme.

Director Louisa Muller overcomes the problems of opening a ghost story in natural daylight to deliver plenty of operatic chills. 

Sir Simon Rattle setzt mit der Walküre seinen konzertanten Ring mit dem BRSO fort – mit großem Erfolg.

Ralph Vaughan Williams' towering A Sea Symphony and the orchestra of the Norwegian National Opera and Ballet capped off the Oslo opera season in a singularly loud fashion. 

A sensational Die Walküre from Sir Andrew Davis and the RSNO at the Edinburgh Festival that will be talked about for years.

In a study of shifting form, tonight's dedication to the bard paired Mendelssohn's incidental music to the play with another work inspired by The Metamorphoses: Matthias Pintscher's mesmerising Reflections on Narcissus.

In Anna Russell's wittily deadpan analysis of Wagner's Ring cycle, she describes Wotan as “the head god” – pausing for dramatic effect before adding “and he's a crashing bore too.”

The combined forces of various LSO and Guildhall ensembles come together in an evening that was, in turns, poignant and thrilling to perform Peter Maxwell Davies's last work. 

Mahler's epic setting of the final scene from Goethe's Faust is so demanding of musical resources that any performance is a special occasion: what better work to conclude the Orchestra Of Opera North's triumphant 2015-2016 season? 

A wittily staged, but variably sung twelfth revival of Jonathan Miller's production at the Coliseum. 

The Scottish Chamber Orchesra, under John Storgårds, in a programme of story, stage and music.

As the majestic horn calls echoed around the vaulted ceiling and full orchestral tuttis shook the very walls, Mahler brought the very heart of Christianity to Worcester's magnificent Cathedral in his truly remarkable “Resurrection Symphony”.

As Britain prepares to celebrate the centenary of World War One, Britten's War Requiem brings a remarkable start to the Worcester Three Choirs Festival.

A brilliantly successful performance of Götterdämmerung by Opera North to bring its four-year Ring to a fiery close. 

If you've been brought up with the Judaeo-Christian ideal of an all-powerful, all-good God, Norse mythology can come as a bit of a shock. Wotan, the father of the gods, is philandering, deceitful, power-hungry, sentimental, violent and ultimately weak - the gamut of human frailties writ large.

Three years ago, John Berry, ENO’s Artistic Director, invited acclaimed theatre director Rufus Norris to reinvent Mozart’s Don Giovanni. Unfortunately, it was not much of a success, and was panned by critics. This year, the production has returned to ENO, with some changes, albeit none that are particularly remarkable. ENO’s publicity machine has, this time round, gone on an advertising offensive.

Once upon a time it was standard practice that most public concerts in Britain would be preceded by the National Anthem; last night in Huddersfield Town Hall a great many members of the audience were caught off guard when a brass and percussion fanfare struck up into the loudest, most ecstatic rendition of ‘God Save the Queen’ I have ever heard.

The Hallé Orchestra, led by Sir Mark Elder, followed their award-winning 2009 Götterdämmerung with a concert performance of Die Walküre over two nights, prefaced by Gerard McBurney’s new work, The Madness of an Extraordinary Plan. With an array of famed soloists, Elder masterminded a triumph, with the magnificent Hallé showing their quality on the concert stage.

Wagner's Die Walküre was split into two concert performances over two days, the first on one evening and the second on an afternoon and an evening. This review is for both. A spot picks out a man in the Bridgewater Hall’s front row, who steps up to stand by a table in front of the Hallé Orchestra, which is ready to begin. He puts on a braided coat to become Richard Wagner.

The operas of Mieczyslaw Weinberg are being pulled out of obscurity. Until the 2010 Bregenz Festival, when director David Pountney placed the composer at the centre of the three-day event and staged an ambitious production of the The Passenger, none of his seven operas had ever been heard outside of Russia.

Mozart's Don Giovanni is an opera that is most difficult to classify. On the one hand, it has many of the trappings of a traditional opera buffa: a fast-paced farce with people falling in and out of bed, master and servant switching clothes, a buffoon-like manservant sung in the bass register and so on.