En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Maurizio Muraro

Soirée superlative avenue Montaigne : donné en version de concert, l'opéra de Francesco Cilea est magnifiquement servi par un chef – Daniele Rustioni – parfait, un orchestre excellent et une distribution de haut vol.

Au Festival d'Aix-en-Provence, Les Noces de Figaro sont en partie sauvées musicalement mais la mise en scène se perd dans la caricature en demi-teinte et le copier-coller thématique. 

Au Festival Berlioz, Sir John Eliot Gardiner dirige une éclatante production de Benvenuto Cellini, avec un grand Michael Spyres et une intelligente mise en espace de Noa Naamat.

Créé il y a bientôt quinze ans à Garnier, le diptyque réuni par Laurent Pelly occupe aujourd’hui la scène plus monumentale de Bastille. Son ancrage dans le plaisir de la comédie continue de séduire.

Nouvelle production du rare opéra de Berlioz, Benvenuto Cellini, à l'Opéra Bastille. Mise en scène spectaculaire de Terry Gilliam.

Clôturant la saison de l'Opéra de Paris, cette nouvelle production de La Cenerentola mise en scène par Guillaume Gallienne et dirigée par le chef italien Ottavio Dantone manque quelque peu d'équilibre.

A rising German conductor draws superb playing from the orchestra in the Met’s fifth revival of Richard Eyre’s witty 2014 production.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

Ermonela Jaho y Elīna Garanča, en este clásico duelo de soprano y mezzo, ofrecen una fascinante lección sobre las diversas maneras de abordar un papel. 

Joana Mallwitz makes her Royal Opera debut in the pit as Sir David McVicar returns to direct this revival of his much-loved 2006 show.

Part of a new Da-Ponte trilogy, Le nozze di Figaro premieres online at the Staatsoper Unter den Linden Berlin

To mark the 150th anniversary of the composer's death, Sir John Eliot Gardiner conducts the opera charting the escapades of the Italian goldsmith and sculptor. 

Ein historischer Berlioz-Triumph für das ORR, den Monteverdi Choir und die Solisten, nur ein Hammerschlag vor beziehungsweise zu viel der Absolutheit. Berlioz kurios!

An exquisitely matched pair of sopranos as Susanna and the Countess make up for some quirky casting elsewhere. 

Although Adriana Lecouvreur could never be referred to as one of the world’s greatest operas, Anna Netrebko, Anita Rachvelishvili and Piotr Beczała give it the star treatment at the Metropolitan Opera. 

All three operas in Puccini's triptych are strongly cast in this revival. 

Under elegant leadership of conductor Harry Bicket, the Met's revival of the "Marriage of Figaro" succeeds with a strong ensemble of cast.

From the moment he stepped on stage as our ill-fated title character, Italian tenor Vittorio Grigolo seemed as if he may burst at the seams. 

Four star singers shine in Pelly's glamorous production of Don Pasquale, which brings out both the lightness and the darkness of the opera.

Francesco Meli asserts his credentials as one of the top tenors singing Manrico; David Bösch's staging lacks attention to detail.

A youthful Bellini opera able to stand on its own two feet? Perhaps not, as Adelson e Salvini gets the Opera Rara treatment. 

Mozart’s beauty asserted but never implied, Sir Richard Eyre’s Le nozze di Figaro brings grand complications in bright turns and quick wit.

El Gran Teatre del Liceu presenta, ante una gran expectación, Benvenuto Cellini de la mano de Terry Gilliam. Tras una intensa campaña promocional, asistimos a un gran éxito de la temporada, con Josep Pons en la dirección musical y John Osborn y Kathryn Lewek en los roles principales.

The task sounded Herculean: turning Benvenuto Cellini, that reputedly difficult, flawed work by Berlioz, into an utterly entertaining show that renders justice to its youthfully energetic music. This is what Terry Gilliam manages to pull off... and it is nothing short of miraculous.

There’s nothing like a trip to The Barber to refresh you. This season, the Metropolitan Opera revives Bartlett Sher’s 2006 production of Rossini’s comic masterpiece, The Barber of Seville. 

Elder led a performance that twinkled with Rossinian wit, while Serena Malfi left you clamouring for a swift return to Bow Street.

The wait was long between James Levine’s 2,442nd and 2,443rd performances at the Metropolitan Opera, but it was worth it. What’s more, Lesley Koenig’s 1996 production of Così wears its age well.

Puccini is one of opera’s best loved composers. With so many popular titles to his name, it is somewhat surprising how infrequently his first great success, Manon Lescaut, is performed today. What makes this even more unusual is the opera’s universal appeal.

Written in 1819 and belonging to the opera seria chapter of Rossini’s career, the florid score of La donna del lago doesn’t so much respond to as resist its unabashedly romantic libretto.

Giacomo Puccini comprehensively eclipsed the other Italian composers of his era. Three of them remain in the repertoire as one hit wonders: Mascagni, Leoncavallo and Francesco Cilea, whose four act Adriana Lecouvreur opened at Covent Garden last night.