En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Stefania Dovhan

When, in 1859, Gounod’s Faust premiered in Paris, it got an icy cold reception. In fact, shocking as it may sound to anyone even slightly familiar with this opera’s glorious arias, breathtaking duets and melodious ensembles, it got rejected by Paris Opera on the grounds of not being sufficiently “showy”.

When attending professional opera, patrons can and should expect to see a solid production, strong singing, and elevated production values—a well-rounded show that leaves them more satisfied than not. At the professional level, opera is a commercial transaction around an artistic product.