En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Maria Fiselier

Barrie Kosky, qui célèbre sa dixième et ultime saison à la tête du Komische Oper, se fait un petit plaisir en reprogrammant la production créée en 2017, qui n'a pas pris une ride.    

C'est avec un certain plaisir que cette Belle Hélène nous amène sur les rives d'une Grèce en crise... Nous laissant un peu sur notre faim d'une certaine rutilance, l'orchestre ayant été passablement dégraissé...

Komische Oper Berlin presents Leoš Janáček's masterpiece as a tight-knit psychodrama in a new production conducted by Giedrė Šlekytė.

Nicola Raab's production doesn't quite provide the bold rethinking it promises, but stylish execution and a fine cast make for an effective modern Traviata. 

Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.

The Komische Oper's new staging of Korngold's opera doesn't quite offer the necessary scale or atmosphere. 

Tchaikovsky's opera packs a powerful emotional punch in the Komische Oper's concentrated and dreamlike production.

“Fiddler on the Roof” as a universal parable of tradition 

Barrie Kosky spielt in einer neuen Fassung von Die Krönung der Poppea an der Komischen Oper mit traditionellen Konventionen des Männlich-Weiblichen.

Could this be the most perfect fusion of music and visuals known to mankind!?

Barrie Kosky's 2011 production confines the action of the opera to a stark white room. A fine ensemble of singers made for a successful evening.

The role of the outsider struck a chord with Tchaikovsky, whose homosexuality alienated him from society. Stefan Herheim takes that identification as the central idea in his remarkable new production at Dutch National Opera.

There may be spiders, or zombies above your head. A spook show? Berlin's Komische Oper premiers a gothic musical theatre work by Heinrich Marschner... and it is a gory, good romp.

James Gaffigan, aided by a fine cast of soloists led by the full-blooded Rigoletto of Dimitri Platanias, demonstrated that Verdi's powerfully dramatic music does not need staging to keep the audience captivated.