En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Academy of Music

The intrepid company brings Damiano Michieletto's well-traveled production of a Rossini rarity to the US for the first time. 

The new opera by Missy Mazzoli and Royce Vavrek draws on cult mindsets and conspiracy theories but smartly avoids sensationalism. 

In his role debut as the Genoan Doge, the American baritone continues to burnish his bona fides as the premier Verdi baritone of his generation.

Yuval Sharon's La bohème for Opera Philadelphia proves a mix of great singing and disorienting navigation. 

Carl Orff's bawdy choral work shares a program with the sweet and sincere Credo, a rediscovered work by the American composer and arranger Margaret Bonds.

Lawrence Brownlee further cements his status as the world's leading bel canto tenor with a blazing performance as Rodrigo, the unlikely central figure in Rossini's rendering of the Shakespearean tragedy.

The company returned to its home at the Academy of Music after three years with a brutalist take on Verdi's middle-career masterpiece.

This musical setting of a poem by Frances Ellen Watkins Harper is the first of four digital commissions set to premiere this spring on the Opera Philadelphia Channel.

This Requiem was a gift to Music Director Corrado Rovaris for the anniversary of his twenty years with the company.

The first subscription concert at the Grand Old Lady of Locust Street since 2001 nodded to the institution's august history.

Alessandro Talevi production for Festival O has sight gags and vaudeville tricks aplenty and features splendid voices in a fine cast. 

Davide Livermore's production of La bohème is inspired by the Impressionist troves at The Philadelphia Museum of Art and The Barnes Collection.

Pennsylvania Ballet kicks off the season with its first Giselle since Angel Corella took over the artistic directorship five years ago. A cast dominated by soloists and corps more than did it justice.

The director's world-renowned 1991 conception of Benjamin Britten's 1960 operaA Midsummer Night's Dream finally makes it to America. 

Top-notch singers and some sensitive direction almost make up for Laurent Pelly's frustrating Opera Philadelphia production. 

Pennsylvania Ballet's wraps up season with Balanchine

Paul Curran's movie-Like Carmen for Opera Philadelphia

Philadelphia Ballet's Story-First Swan Lake

Written on Skin is a cold but effective opera full of musical and dramatic energy. Opera Philadelphia's new staging and talented young cast do it justice.

It’s alright, sometimes, for a classic to own the fact that it is a cliché. The Pennsylvania Ballet’s performance of The Sleeping Beauty, directed by Angel Corella was a lovely, lush but unsurprising presentation

Mozart meets the movies as 1927's wacky production comes to Opera Philadelphia. 

Some very fine singing and beautiful, if sometimes confusing, visual effects in Opera Philadelphia's Don Carlo.  

Outstanding vocal performances and Oscar Wilde's own words don't save this new opera based on his incarceration at Reading Gaol. 

Visually and vocally beautiful, but the case for updating the setting of this story is not made.

Tony Award winning production of Porgy and Bess that wowed audiences across the country has just landed at the Academy of Music in Philadelphia. 

Bravo to Opera Phila for presenting a startlingly beautiful contemporary operatic work by Osvaldo Golijov, one that's vital in the evolving landscape of 21st century opera.

During Verdi’s bicentenary month and year, it’s fitting that Opera Philadelphia kicked off its 2013/14 season with the work that Verdi himself considers as having launched his own career – Nabucco. Written at a time when Italy longed to be free of foreign rule, Verdi’s name and the expression “Viva Verdi” became synonymous with Italian nationalism and unification.

A work crucial to the development and appreciation of opera as a relevant modern art form premièred on the East Coast to well-deserved acclaim at a legendary Philadelphia venue. From the first note out of the pit orchestra to the final strains of the last act, Silent Night, presented by Opera Philadelphia at the Academy of Music, was a tour de force – from conception to execution.

For the first time in twenty-five years, the Opera Company of Philadelphia has mounted a production of Puccini’s first great opera, Manon Lescaut. The result was an inspired testament to thoughtful direction by Michael Cavanagh, gorgeous sets and costumes by John Pascoe, and several winning performances.

Combine a pleasing production, in a stunning venue (The Academy of Music), located on one of the most picturesque streets in Philadelphia – the Avenue of the Arts – with the marvelous music of Mozart, and you have the makings of a lovely winter afternoon.As I stepped into the street, I remember wishing more February days could have been like this one.

Some operagoers contend that Carmen, the fatalistic gypsy doomed to die, is unlikable. She antagonizes other women at the cigarette factory. She seduces men with abandon. She makes an inexperienced corporal of the guard fall for her, manipulates him into abandoning his military career for a life of smuggling, and then heartlessly turns him out like a pesky stray.

Opera Company of Philadelphia (OCP) reached into the Philadelphia community with its remake of Gounod’s Romeo and Juliet, the second of five shows in the 2010-11 season. In his OCP debut, Italian director Manfred Schweigkofler gave the company a chance to recast a Renaissance-era tale of two Italian families bearing ancient and deadly grudges as warring fashion houses in 21st century Verona.