En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Moritz Junge

La première du nouveau Vaisseau fantôme au Festival d'opéra de Québec charme par la proposition scénique originale de François Girard mais déçoit beaucoup sur le plan vocal et orchestral.

In a triple bill of contrasting choreography, Les Ballets de Monte-Carlo tackle everything with aplomb.

Opera Australia's well nigh perfect production of Mozart's Così fan tutte excels in every dimension, with an excellent ambiguous conclusion.

Final verdict on Woolf Works? It’s sprawling, uneven, with parts that are thrilling and other parts that are prosaic and shallow.

The first new Forza at the Met for nearly 30 years is lustily sung, led by Norwegian soprano, Lise Davidsen, and Igor Golovatenko as her vengeful brother. 

Sir David McVicar's grim and creepy take on Verdi's Macbeth, backed up by brilliant conducting from Speranza Scappucci and a fine performance of the title role by Quinn Kelsey, is the best thing seen at the COC since lockdown.

Every decade or so, The Royal Ballet creates a new work that will endure in its signature collection, and there's little doubt that Woolf Works deserves its place among that elite.   

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.

Both vocally and instrumentally the performance  was a high-class one

Alessandra Ferri, the former La Scala Prima Ballerina Assoluta, makes her triumphant return to Milan as the moving incarnation of Virginia Woolf in Wayne McGregor's most mature, complete and striking piece to date.

Ein monumentaler Opernabend mit Joyce DiDonato, den man wohl nicht so schnell vergessen wird.

Zwei Verismo-Klassiker, die sich nach kurzfristigen Umbesetzungen auf unterschiedlichem Niveau präsentierten, wurden von Roberto Alagna in Höchstform zusammengehalten. 

David McVicar's uninspiring Cavalleria rusticana remains problematic, but a strong Pagliacci leaves the New York audience gasping. 

The winter revival of the Met’s opening night Norma brought a new conductor and new stars in the main two female roles.

Sondra Radvanovsky scores a rousing success in the taxing title role of Bellini's masterpiece in New York.

Not just a jolly romp through the inconstancies of the heart, Sir David McVicar takes Così fan tutte through a dark lesson for lovers while leaving the music ravishingly intact.

Sondra Radvanovsky tackles another Donizetti queen - Elisabetta in Roberto Devereux - at The Met. 

The Met’s revival of David McVicar’s year-old take on the perennial Verismo twins strikes out emotionally in Cavalleria rusticana but scores high in Pagliacci. Working on the same set by Rae Smith, flanked by the forbidding stone walls of the town church, Cavalleria is dark, dark, dark – the very picture of a poor, unhappy Sicilian hill town.

Staging the operatic behemoth that is Berlioz's Les Troyens comes with huge challenges to harness the artistic, technical and dramatic qualities in a work which spans more than four hours. 

Praise goes to Wayne McGregor, Alessandra Ferri and the Royal Ballet for their bold, modern and innovative treatment of Virginia Woolf's legacy.

The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.