En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Michael König

Comme le veut la tradition instaurée en 2018, le Philhar' a commencé l'année avec la Neuvième Symphonie de Beethoven. Retour sur une exécution peu inspirée sous la baguette ronflante de Mikko Franck.

Pour le premier opéra 2018 et la reprise de la saison lyrique, la première des quatre journées du cycle lyrique du compositeur Richard Wagner marquait son grand retour sur la scène toulousaine dans sa production d’avril 1999.

La temporada de la Ópera de Tenerife comienza con la excelente producción de Ariadne auf Naxos, de Richard Strauss, que destacó tanto en lo musical como en lo escénico.

Die Staatsoper Stuttgart präsentiert Die Walküre als Arbeit von drei unterschiedlichen Regiearbeiten.

Dutch National Opera revives Pierre Audi's acclaimed Die Walküre for the very last time.

Frederic Wake-Walker sticks to a vapid pop-parody that demeans the intellectual message of Strauss' Ariadne auf Naxos.

Schilling zeigt in seiner Neuinszenierung eine verunsicherte Gesellschaft, die in einer Zeit des zunehmenden Populismus sehr aktuell ist.

Hartmann's staging takes a bizarre twist in the end since so far the staging had followed the naïve story very faithfully without any weird implications.

Die Festwochen präsentieren unter der musikalischen Leitung von Marc Minkowski Achim Freyers Inszenierung des Beethoven-Klassikers.

Adrianne Pieczonka and Anett Fritsch shone in an otherwise disappointing opening night, impaired by poor conducting and unimpressive staging.

Mit spannendem Bühnenbild und gerissener Personenführung schafft die neue Dresdener Produktion der deutschesten aller Opern, Webers Freischütz, den Spagat zwischen Tradition und Kitsch.

A dark and minimalist staging doesn't quite fire Wagner's Flying Dutchman into life at the Royal Opera House, despite worthy performances from Bryn Terfel, Adrianne Pieczonka and others under the direction of Andris Nelsons.

Good versus evil, only evil wins. Wagner's Lohengrin fills the Madrid night with questions about what trust is and what it takes to maintain it.

For any opera lover, a first visit to Bayreuth is something of a pilgrimage to the holy land. Musically, I wasn’t disappointed, as the Dutchman’s leitmotif rose softly from the invisible orchestra, soon to be enveloped by the swirling storm brewed up by Wagner and conductor Christian Thielemann.

Few conductors could hold an audience's applause whilst shaking hands with every member of the orchestra and then speaking extensively about politics. Daniel Barenboim, though, on completion of a week-long Beethoven cycle, did so and then dashed to the Olympic opening ceremony to bear the Olympic flag alongside Ban Ki-Moon, among others.

Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts.

Vladimir Jurowski and the London Philharmonic Orchestra planned to visit Hungary. but the tour didn't come off for reasons beyond their control. But the programmes they chose remained for the two London concerts on 26th and 29th January at the Royal Festival Hall. Big, complex programmes, held together by their references to separate Austrian and Hungarian traditions.