En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Matthew Durkan

Incohérences scéniques et aplatissements du livret mettent en question la lecture du mythe proposée par la production normande.

In NIO's annual opera production at the Belfast Grand Opera House, Cameron Menzies directs Puccini's Tosca. 

The Norwegian soprano scores a major success at Covent Garden in her role debut as Elisabetta, whetting appetites for more Verdi to come. 

Bieito’s Carmen is now a mainstay of ENO's repertoire, but with an excellent central cast led by Sean Panikkar and Justina Gringytė, the production feels entirely fresh. 

Annabel Arden's superb production of Donizetti's classic makes a welcome return for the Glyndebourne Tour in a taut revival led by two excellent principals.

Paula Sides as Donna Anna has an appealing sound throughout her range, a hint of spinto power, and gave the vocal performance of the night.

An intimate setting for the 18th-century work do from hell.

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

A decent cast was unable to redeem a fundamentally dull opera that lacks the psycholgical complexity and tension of both the original Graham novel and its famous Hitchcock adaptation.

The latest revival of Jonathan Miller's The Barber of Seville has everything you could want; strong direction, a strong orchestral performance, and a cast that's universally strong. No close shaves there!

Christopher Alden's account of Handel's love pentangle is long on Man Ray imagery and modern language wordplay, but never hits the vocal highs and eventually palls.

Jonathan Miller's production remains a work of brilliance, but poor conducting amongst other things keeps this revival from getting off the ground.

The first UK production of Karl Amadeus Hartmann’s 1930s anti-war opera Simplicius Simplicissimus is a musical and dramatic triumph, and as pertinent as ever

The sheer opulence of Minghella's staging often overwhelms, drenched in colour. Is that enough to really get to the core of the drama though, or is it all surface gloss?

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