En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Tiziano Santi

New Zealand Opera's new production impresses with its stunning set design and art direction, and its restrained emotional tone. 

Artistic Director Rosetta Cucchi makes a compelling case for Marco Tutino's impassioned opera on the horrors of war from a woman's perspective. 

The Armenian-Australian soprano steps in for an indisposed Ermonela Jaho in Rosetta Cucchi's staging of Cilea's verismo masterpiece. 

Rossini's Otello is rarely performed, mainly due to its three demanding tenor roles, but the Rossini Opera Festival delivers a knockout, both vocally and emotionally. 

A swan song of the early Baroque opera seria, Scarlatti's final opera flourishes at a festival that specialises in rarely performed works.

Fabio Ceresa applies his "Baroque divertissement" style to Haydn's oratorio The Creation, staged at the Festival della Valle d'Itria.

Risurrezione is a work whose value is to be found more in the orchestra than in the vocal lines, a peculiar thing for an Italian opera belonging to an epoch that gloried in enticing melodies.

Rosetta Cucchi, who takes over as Artistic Director at Wexford Festival Opera next season, directs a Rossinian rarity and its newly commissioned "prequel". 

The delightful farce in one act in a new, imaginative production inspired by Lewis Carroll.

The acting was patchy and the singing ranged from serviceable to laudable in this dazzling new production at the Budapest Spring Festival.

Franco Alfano’s name is inextricably linked to that of Puccini, as he’s mostly remembered for completing the unfinished score of Turandot, and has overshadowed his own operas. 

Juan Diego Flórez plays the role for the first time on stage and it's a vocal triumph 

In a staging new to Florence, the action is often merely a set of friezes, singers immobilised on a pair of moving plinths. 

Good overall singing, but the Steinberg's conducting was completely subordinate to the stage directions.

Opportunities to see Mascagni's Guglielmo Ratcliff come few and far between, mainly because the title role is an absolute killer for any tenor mad enough to attempt it. Step forward, Angelo Villari...

A suggestive opera based on Sàndor Màrai's novel, at the Festival della Valle d'Itria. 

Daniela Dessì and Fabio Armiliato make their role debuts in the first production of Umberto Giordano's Fedora at the Teatro Carlo Felice for 15 years.