En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Natalie Dessay

Le Festival de Menton met en lumière les plus célèbres airs de Broadway magnifiés par l’interprétation de Natalie Dessay et de ses invités surprise.

Hier soir à la Philharmonie, la rencontre miraculeuse d’une distribution de très haut vol et d’un public aussi nombreux qu’attentif nous prouvait que les Liebeslieder avaient encore de beaux jours devant eux.

Le Festival de Radio France de Montpellier a offert un concert autour de Felix Mendelssohn justement intime et vibrant. 

Le sublime duo Dessay/Cassard éblouit le public lyonnais dans un récital de lied et de mélodies généreux et riche en émotions.

Habituée de la Halle aux Grains et du répertoire français, Natalie Dessay retrouvait la salle toulousaine cette fois-ci accompagné par Laurent Naouri et par le pianiste polonais Maciej Pikulski. 

A ratos íntimo y a ratos valiente concierto de Natalie Dessay, a medio camino entre el lied y la mélodie francesa

Du bist die Ruh' (Tú eres la calma)… con el Lied de Schubert in memóriam de las víctimas del accidente aéreo en los Alpes franceses horas antes, Natalie Dessay, acompañada por Philippe Cassard, comenzó emocionada su recital de debut en A Coruña.

Natalie Dessay’s recital at the Maison Symphonique last night should have been an art song lover’s dream come true. Instead the audience was treated to a bizarre spectacle of over-expression and under-singing.

Read our review of Willy Decker's production of Verdi's La Traviata in its 2012 broadcast from the Met Opera in New York.

The return of Offenbach’s Les Contes d’Hoffmann to the stage of San Francisco Opera on Wednesday night was a welcome and long overdue event.

Read our review of David McVicar's production of Handel's Giulio Cesare in its 2013 broadcast from the Met Opera in New York.

David McVicar’s Giulio Cesare is still riotous at the Met, the production having transferred from Glyndebourne. This is a delicious, smart production, then, with interest for the brain, ears, and eyes alike.

From time to time, audiences are presented with what I consider to be a rare event, a “dream” performer: one so convincing in his or her role that they become an ideal, establishing a standard to which all following interpretations will inevitably be compared – for example, Jacqueline du Pré’s interpretation of Elgar’s Cello Concerto has become a timeless benchmark.

Read our review of Mary Zimmerman's production of ­Donizetti's Lucia di Lammermoor in its 2011 broadcast from the Met Opera in New York.

Natalie Dessay has been making a real signature role out of Marie, Donizetti's foundling "Daughter of the Regiment" who turns out to be of noble birth (well, partly, wherein lies the tale). We went to Covent Garden last night specially to see her, and she didn't disappoint: her performance was quite out of the ordinary.

Read our review of Mary Zimmerman's production of Bellini's La Sonnambula in its 2009 broadcast from the Met Opera in New York.

Read our review of Laurent Pelly's production of Donizetti­'s La Fille du Régiment in its 2008 broadcast from the Met Opera in New York.