En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Peter Hoare

Après les deux premiers volets du Ring mis en scène par Romeo Castellucci, Pierre Audi prend le relais. La distribution est au rendez-vous, sous la baguette toujours formidable d'Alain Altinoglu.

Même si certains procédés du metteur en scène italien restent incompréhensibles voire agacent, force est de constater que ses débuts dans la Tétralogie bruxelloise sont une réussite.

La direction enthousiasmante de Wayne Marshall et les qualités de la distribution ne suffisent pas à compenser une mise en scène creuse, qui ne fait pas honneur à la fantaisie de l'œuvre de Bernstein.

Pour clôturer sa saison, la Philharmonie de Paris a réuni sur scène un casting idéal pour donner La Petite Renarde rusée de Janáček, mise en scène par Peter Sellars.

Créé il y a dix ans à Vienne, triomphe au Festival d’Aix qui a suivi, De la maison des morts, dans la mise en scène de Patrice Chéreau, est enfin donné sur la scène de Bastille, ici encore sous l’impulsion bienveillante de Stéphane Lissner.

Tcherniakov flirte avec l'insoutenable à l'Opéra de Lyon en proposant une Lady Macbeth d'une cruauté sans égal.

Robert Carsen's new production of Janáček’s The Excursions of Mr Brouček for the Staatsoper Unter den Linden scores a well-deserved success thanks to a stellar – or rather, lunar – conducted by Sir Simon Rattle.

Dmitri Tcherniakov’s staging of Rusalka in Naples has a starkly modern visual style which occasionally dilutes the story’s emotional impact.

Zu einem überwältigenden Erfolg wurde in München die Aufführung unter der Leitung von Simon Rattle, die das Symphonieorchester und der Chor des Bayerischen Rundfunks seinem Publikum zum 75-jährigen Bestehen schenkten.

English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

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

Andris Nelsons brings his Shostakovich project to a close in Boston with an incandescent performance of Lady Macbeth of Mtsensk. 

Maxim Emelyanychev, the Scottish Chamber Orchestra and Chorus and a luxury cast of soloists enchant in a concert performance of The Magic Flute at the Edinburgh International Festival.

Sir Simon Rattle and the LSO give an orchestral performance to remember, with a fine singing cast, but Simon McBurney's staging dials the bleakness to maximum too early.

A potent rendering of Alban Berg's tale of the traumatised and impoverished war veteran.

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

A long stellar night of supremely assured singing and playing in Wagner's Siegfried, with the Bavarian Radio Symphony Orchestra and Sir Simon Rattle on top form.

Wagner-Gesang vom Feinsten und das BR-Symphonieorchester auf Opernkurs: am dritten Abend des Rings strahlten goldener Klang der Musiker und die Mienen überwältigter Zuhörer um die Wette.

Mit ausgezeichneten sängerischen Leistungen und vorzüglichem Orchester der Staatsoper zeigte Strauss' heiter-rasantes Konversationsstück seinen musikalischen Esprit.

Janáček’s satirical opera The Excursions of Mr Brouček may not be among his greatest dramatic works, yet it earns its place in the limelight for its musical, visual and dramatic wit at Grange Park Opera.

Director Claus Guth's new production for the Staatsoper Berlin is a bit of a mixed bag but the evening succeeds more on its musical merits, with a splendid ensemble of singers and orchestra conducted by Sir Simon Rattle.

Musikalisch überzeugend, aber aufgrund der fehlenden Regie bleiben viele Absurditäten und der abgründige Schabernack auf der Strecke.

Poised performances of Fauré and Mozart from Stephanie Childress and the RLPO and expressive Britten with tenor Peter Hoare.

Messrs Rattle and Sellars bewitch the Barbican audience with a sumptuous rendition of Janáček's magnum opus. 

Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.

George Benjamins neue Oper beschreibt eindringlich einen durch Liebe hilflosen König – Hannigan und Degout füllen die tiefgründige Musik mit hingebungsvollem Emotionsspiel.

George Benjamin and Martin Crimp's second full scale opera is a refinement of the craft showed in Written on Skin – but the lessons are less in love and violince than in power, tension and beauty of the score.

Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.

The Spanish director offers a controversial angle but tones it down to focus on dark psychology rather than spectacle in his staging of Schrecker's hothouse opera.

A taste of the future with Sir Simon Rattle and the LSO.

Problems of orchestral balance cloud Olivia Fuchs's straightforward, compelling staging of Janáček’s tirade against the rigidity and hypocrisy of small town society.

Grange Park Opera scored a direct hit with a fine production of Janáček's masterpiece, led by a superb performances from Natalya Romaniw and Susan Bullock as Jenůfa and the Kostelnička.

John Adams and Peter Sellars' biblical oratorio given a fine concert performance by the Berliner Philharmoniker under departing chief conductor, Sir Simon Rattle.

Simon Rattle leads the LSO and a fine chorus and cast of soloists in Ligeti's masterpiece: surreal, madcap but touching the sublime.

An aesthetically handsome but cold and distant staging mars the long-awaited return of  Eva-Maria Westbroek as Puccini’s heroine at Dutch National Opera.

Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.

In Janáček's searing excoriation of small town social mores, superb orchestra, singing and acting make this revival of David Alden's Jenůfa into an unmissable evening of opera.

A new cast arrives for Katie Mitchell's gothic Lucia di Lammermoor – and, despite caveats about the staging, deliver some excellent performances. 

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

At Dutch National Opera, director Lotte de Beer’s reminds us who the Hänsels and Gretels of the 21st century are, juggling between harsh reality and heartening fairy tale in a spectacle that both delights and unsettles.

To celebrate its 50th birthday Dutch National Opera put on a festive tribute to the people that have made it the innovative and much-admired house it is today.

The Chelsea Opera Group give a concert performance of Wagner's early opera Das Liebesverbot conducted by Anthony Negus.

Dmitri Tcherniakov turns Shostakovich's "satirical tragedy" into a riveting piece of theatre, help by an outstanding performance from Patricia Racette and a top class orchestral performance from new ENO Musical Director Mark Wigglesworth.

If “all the world’s a jest”, as Sir John Falstaff claims at the end of Verdi’s final operatic masterpiece, then we need players – and directors – with a sense of frivolity. Robert Carsen truly delivers. 

David Alden’s muddled clichés failed to convince all the time, but Edward Gardner steered us through a thrilling musical account of Tchaikovsky’s terrific opera.

From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention. 

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.

Matthias Goerne steps in for Thomas Hampson and electrifies James Levine's Wozzeck at the Metropolitan Opera.