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

Triste fin de saison à l'Opéra national de Montpellier où la double soirée lyrique Weill/Puccini n'a pas comblé les attentes. 

Dans la nouvelle production de l'Opéra de Paris, Zabou Breitman porte L'Enlèvement au sérail de Mozart à l'écran glamour du cinéma muet. La vedette y a été volée par Anna Prohaska en Blonde.

La temporada de la Ópera de Tenerife comienza con la excelente producción de Ariadne auf Naxos, de Richard Strauss, que destacó tanto en lo musical como en lo escénico.

There is magic aplenty in director Stefan Herheim’s bold recontextualization of Gian Carlo Menotti's holiday opera. 

Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.  

Here was the much-loved three-act opera Rigoletto, yes, but chances are, it was one far beyond Verdi’s wildest dreams.

Ádám Fischer delivers a remarkable performance of Haydn's great oratorio.

Keith Warner und das Theater an der Wien beweisen mit Elegie für junge Liebende ein weiteres Mal ihre hervorragende Zusammenarbeit.

Any production of Le nozze di Figaro in which both Marcellina and Barbarina give star performances is ensemble casting at its finest.

Jane Archibald and Ruxandra Donose provide a compelling prologue to Ariadne auf Naxos, while Karita Mattila's majestic performance lights up the opera seria second half.

As revivals go, Karita Mattila and Jane Archibald make the Royal Opera's Ariadne auf Naxos a must-see.

Smetana wrote Prodaná nevěsta (“The Bartered Bride”) as a light Czech folk piece in a playful reply to critics who said that his music was too Wagnerian, or too German for that matter – something not compatible with the growing Czech national consciousness in the period he composed it (1863–66), even though he only showed mild interest in the Czech cause.

How to stage The Abduction from the Seraglio in Vienna, a city not exactly known for its sensitivity towards its Turkish minority? Mozart’s opera doesn’t, it should be said, contain nearly as much politically incorrect embarrassment as the rhetoric of some of Austria’s modern-day political parties, but the abusive boor Osmin and the Western women enslaved by his short-fused ganglord are images whi