En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Nathan Berg

Le Theater Basel propose la Tétralogie à la façon d'un « festival scénique » digne du projet original de Richard Wagner. Retour sur les deux premiers épisodes d'une série qui est déjà une franche réussite.

Le Collegium Vocale Gent et l’Orchestre des Champs-Élysées sous la direction de Philippe Herreweghe dans un programme Bruckner/Schubert : une musique pleine de gravité, proposée avec intensité par un très grand chef.

Finding a partner for Bartók's creepy one-acter is a thorny problem, but Welsh National Opera pairs it with Stravinsky's ‘opera-oratorio’ for its season opener. 

Sarah Dufresne shines as Gilda in Glynis Leyshon’s gloomy staging of Rigoletto, set in Victorian London. 

Sarah Dufresne dazzles as Ophélie in Opéra de Montréal's Hamlet along with mezzo Karine Deshayes and the Orchestre Métropolitain conducted by Jacques Lacombe.

Doing justice to the vast scale of Mahler's "Symphony of a Thousand" is itself the mightiest of tasks. Semyon Bychkov and his NDR forces only partially succeed.

Benjamin Bernheim and Nadine Sierra are a must-see pairing in the Met's revival of Bartlett Sher's production of Roméo et Juliette. 

Before the planned program of Bartók and Haydn, the Boston Symphony Orchestra and conductor Karina Canellakis honor Seiji Ozawa with Bach's Air on a G String. 

Lydia Steiers Frau ohne Schatten eröffnet mit einer bildgewaltigen Inszenierung die diesjährigen Osterfestspiele in Baden-Baden.

Orchestra and singers reached great heights in this highly lyrical and dramatically flowing Frau ohne Schatten conducted by Yannick Nézet-Séguin.

The double choir triumphs in the MSO’s massive, mostly successful attack on an English choral masterpiece all too rarely performed in Australia.

Die Hamburger Symphoniker brachten unter Markus Stenz Detlev Glanerts Requiem für Hieronymus Bosch zusammen mit der Europa Chor Akademie auf die Bühne der Elbphilharmonie.

Bartoli shines in another Rossini role supported by an uneven cast.

Mit einer grandiosen Vorstellung von Händels Ariodante melden sich die Salzburger Pfingstfestspiele in diesem Jahr einmal mehr zurück und feiern einen beispiellosen Erfolg. Sowohl musikalisch als auch szenisch verspricht die Neuproduktion im Haus für Mozart einen überaus überzeugenden Abend.

Highly idiomatic and effective singing by Greer Grimsley, Denyce Graves and other cast members, coupled with inventive stagecraft wizardry, make the Minnesota Opera's first-ever Rheingold a memorable production.

A mesmerising Wozzeck, thanks to the trampled dignity of Florian Boesch’s antihero, Asmik Grigorian’s gloriously sung Marie, and a thrillingly savage Netherlands Radio Philharmonic.

The staging of Pierre Audi’s production of Handel’s Tamerlano at the Amsterdam Stadsschouwburg is all understated elegance, well matched by Les Talents Lyriques’ refined playing.

A ruthless Russian leader quelling revolt and uniting his country through waging war on its neighbours: the theme of Sergei Eisenstein’s film Ivan the Terrible, intended as a Soviet propagandist parable, raises a knowing eyebrow even today. Excerpts from Prokofiev’s score formed the bulk of this raucously enjoyable concert by the Philharmonia under Vladimir Ashkenazy, beneath a screening of key scenes from the film itself.