En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Tomáš Hanus

La production genevoise est d’abord un grand moment de théâtre, auquel s'ajoutent la direction musicale convaincante de Tomáš Hanus et une belle distribution, emmenée par une Corinne Winters impeccable.

L’opéra Iolanta et le ballet Casse-Noisette sont réunis dans une co-création d’envergure qui rassemble les talents du scénographe Dmitri Tcherniakov et des chorégraphes Sidi Larbi Cherkaoui, Edouard Lock et Arthur Pita.

Max Hoehn takes Così‘s subtitle, La scuola degli amanti (The School for Lovers), and connects it to Monty Python’s sex education sketch in The Meaning of Life. What larks, eh? 

Conductor Tomáš Hanus leads a great cast in a stunningly beautiful production of Dvořák’s masterpiece directed by Emma Dante.

Tomáš Hanus and the Welsh National Opera Orchestra offer a convincing demonstration of why Czech conductors are making a splash abroad. 

Asmik Grigorian und David Butt Philip führen Janáčeks Oper zum Triumph.

Olivia Fuchs gives a powerful staging of Janáček's morality tale of the perils of eternal youth, with an excellent cast, but there are reservations about the title role.

WNO finally emerges from the pandemic with a performance of The Barber of Seville full of emotion and elation.

Virginie Verrez acted not with fire and ice but with gallic insouciance.

It’s a small miracle that the production has been recreated so well in such a short time frame.

Die Bayerische Staatsoper legt bei der Neuinszenierung von Bedřich Smetanas komischer Oper den Fokus auf ein unterhaltsames Dorffest-Idyll.

Delights both sugary and strange in this revival of La Cenerentola by Welsh National Opera.

WNO make a compelling case for Prokofiev's gargantuan War and Peace.

Klangliche Schönheit bei wenig emotionaler Aufregung in einer Inszenierung, die mehr Fragen aufwirft, als sie beantwortet.

David Pountney's House of the Dead makes for high entertainment at Welsh National Opera.

Welsh National Opera’s new season commemorating the centenary of the 1917 Revolution with three Russian-themed works opens with both a bang and a whimper with this trenchant revival.

Munich revived a thoughtful modern production of Janáček's Jenůfa, with fine orchestral direction and strong singing doing full justice to the rich score.

WNO's excellent revival of John Copley's 2011 staging of Die Fledermaus is a delight. 

Gloriously sung and stylishly played, this Rosenkavalier is a feast for the ears and eyes and should be heard without delay. 

Willy Decker's gloriously sung production of Janáček’s Káťa Kabanová in Oslo made for a uniquely powerful performance.

Mit der Sache Makropulos setzt die bayerische Staatsoper gleich zum Beginn der Münchner Opernfestspiele einen überwältigenden Akzent – dank Nadja Michael.

The Bayerische Staatsoper's production of Hänsel und Gretel is successful both musically and dramatically, but don't come expecting a charming fairy tale: This eerie staging is not for the very young or the faint of heart.

The opening of the Teatro Real’s season in Madrid has been anything but uneventful. However, Rossini’s Il Barbiere di Siviglia, the ever-pleasing opera chosen to welcome back an expectant audience, had very little to do with it.

Tonight’s concert at the Concertgebouw started with the Romance from Shostakovich’s film score The Gadfly, as a tribute to the conductor Yakov Kreizberg, who sadly passed away last March. A popular piece with violinists, the Romance is a beautifully melodic work, perhaps one of Shostakovich’s most popular ones.