En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Neal Cooper

Si la direction de Gustavo Dudamel et la mise en scène de Peter Sellars rendent justice au chef-d'œuvre wagnérien, la distribution inégale suffit à ternir le tableau.

En guise d'ouverture de saison à l'Opéra de Paris, le Tristan de Peter Sellars et Bill Viola laisse les wagnériens sur leur faim, malgré un grand Philippe Jordan.

Amid the rough winds of late May, Julia Burbach directs Opera Holland Park's first venture into Wagner – The Flying Dutchman. 

El reto Tristan und Isolde, en versión semiescenificada en el Teatro Real, logró alcanzar el éxtasis musical en una velada que arrancó largas ovaciones y vítores.

Using Jonathan Dove and Graham Vick's distillations of Siegfried and Götterdämmerung, the company concluded its miniature Ring cycle in under five hours, without sacrificing musical or dramatic tension.

For social distancing reasons, the Festival dispensed with a full staging of Wagner's epic love story, allowing singers and orchestra to share the stage in an able compromise.

As part of the annual Wagner festival in the Hungarian capital, Peter Seiffert and Allison Oakes star as the doomed lovers.

After staged performances in Baden Baden, the Berlin Phil's Parsifal is presented in concert at the Philharmonie, with a couple of key cast changes. 

Dieter Dorn’s staging robbed Wagner’s final masterwork of magic and mystery while Simon Rattle set new speed records.

A mural depicting Etna erupting is the only hint of Sicily in Stefan Herheim’s opulent staging, returning to Covent Garden for the first time since the Royal Opera’s Verdi bicentenary celebrations in 2013. 

Daniele Gatti is the winner of the night, managing to draw an astounding outcome from a far from ideal cast.

Director Mariusz Treliński’s previous work at the Met, in conjunction with Boris Kudlicka’s sets and Bartek Macias’ videos, was a double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle.

Can classic opera reflect the political status of the society in which it is performed? Calixto Bieito's production of Turandot for Northern Ireland Opera raises some uncomfortable questions.

Bard SummerScape made musical history by presenting the first full staging of British composer Ethel Smyth’s opera The Wreckers. Born in 1858 and dying in 1944, Smyth was celebrated in her day (John Singer Sargent painted her portrait in 1901) not only for her compositions, but for being an openly bisexual member of the suffrage movement.

First class performances from Stephen Gould and Nina Stemme are backed by a magnificent orchestral performance in the Royal Opera's revival of Christof Loy's spartan production.

Stephen Barlow’s staging of Puccini's Western is easy on the eye, if short on verismo. Susannah Glanville impresses as the barkeeper with a heart of gold.

After their Mascagni debut last year, with L’amico Fritz (the composer’s first post-Cavalleria opera), Opera Holland Park have set out to uncover more music from the so-called ‘one-hit-wonder’ – still known to most for his smash verismo opera alone.