En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Paul Brown

On attendait beaucoup de cette production du Roi Arthus de Chausson à l'Opéra de Paris mais force est de reconnaître que cette redécouverte ne fut qu’un demi-succès ou plutôt même un demi-échec.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

A revival low on dramatic power and emotional temperature, despite a fine Royal Opera debut by conductor Karen Kamensek. 

In a face-off between Gabriele Viviani's Scarpia and Malin Byström’s Tosca in this solid revival of Jonathan Kent's 2006 production, there could only be one winner

Making her debut at the Metropolitan Opera, the wife of Met GM Peter Gelb crushes any talk of nepotism at the downbeat. 

A change of tenor mid-performance adds further drama to a night at the opera in Covent Garden...

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way. 

Peter Seiffert can still impress as Tristan, but Graham Vick's staging is uncertain and unconvincing. 

Cal McCrystal goes long on the ham and keeps the gags flowing in a visually stunning production that will delight G&S lovers.

The ninth revival of Jonathan Kent’s production features a great Act 1 and enjoyable Covent Garden role debuts for the three top singers, but misses the mark on the set pieces.

A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

Kent's staging brings out the sleaze in Puccini's first big hit; Sondra Radvanovsky thrills in the title role; the musical performance improves through the evening.

Strong vocal talent rules the night, and a late moment of visual splendor caps off a serviceable reading of a battered warhorse.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

A clumsily directed, poorly sung Tosca at the ROH made for a dispiriting evening. 

Giuseppe Verdi’s Don Carlos has finally arrived, for the first time in the 21st century, as a much anticipated highlight of Opera Australia’s current season. 

The Met's revival of Shostakovich's satirical opera of an oppressed Russian housewife's tragedy is a must-see event of the season.

Enjôleur, irréel et effrayant, doté d'une solide distribution de jeunes chanteurs : difficile d'imaginer un meilleur Tour d'écrou que celui de la version de Jonathan Kent à Glyndebourne, redonnée par Francesca Gilpin à l'occasion de leur tournée 2014.

Jonathan Kent claims one of the great difficulties of Mozart-Da Ponte’s 1787 dramma giocoso is ‘the collision of an extraordinary variety of music and mood within it’

Once upon a time, an Emperor was hunting when his red falcon caught a white gazelle. As he grasped the animal, it transformed into a beautiful princess in his arms and they fell in love. She was the daughter of Keikobad, the King of the spirit world, a woman of such translucent beauty that she cast no shadow, but she lived under a curse...