En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Oslo Opera House, Main Stage

The second programme of Norwegian National Ballet's Kylián festival, Day After Yesterday, features four older works, including Petite Mort and No More Play which are unquestionably highlights of his expansive repertoire.

The Wings of Time festival in Oslo this summer is the most comprehensive collection of Czech choreographer Jiří Kylián’s work ever presented. 

A brief but excellent programme of five duets showcased on the main stage of the Den Norske Opera.  

Premiered with Norwegian National Ballet in 2009, this Don Quixote is packed with high energy classical and character roles and is colourful and extravagant.

Stigma is a monumental work, with a wealth of serious reflection on where we are as the human race on a fragile planet.

A first rate account of George Balanchine's Jewels from exquisite dancing and music, to tremendous staging.

Norwegian National Ballet's highly entertaining double bill of two of Mats Ek's most popular works is enthralling.

Marit Moum Aune has completed the third production in her Ibsen trilogy and in The Wild Duck she has, together with Norwegian National Ballet, another big success.

An adventurous triple bill of vintage works new to Norway. 

Norwegian National Ballet return to the classics with surprising ease.

A spotlight on human connection in a world increasingly devoid of empathy.

Six talented finalists light up the final of the prestigious Norwegian singing competition

Closer to Matthew Bourne than Marius Petipa, Christian Spuck's Sleeping Beauty is full of invention, captivating the audience in numerous, unexpected ways.

Powerful and thoroughly absorbing living art. 

Norwegian National Ballet opened its new run of Natalia Makarova’s staging, with Whitney Jensen and Lania Atkins making outstanding impressions as Nikiya and Gamzatti. 

Chrisoph Loy's new Oslo production of Eugene Onegin only somewhat succeeds in its desire to create a meditation on loneliness, but superb musical performances still make it an utterly compelling piece of music theatre.

Ralph Vaughan Williams' towering A Sea Symphony and the orchestra of the Norwegian National Opera and Ballet capped off the Oslo opera season in a singularly loud fashion. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

The first staging of Bellini's Norma in Oslo in over a century is unfortunately hampered by an irritating production, yet some glorious singing does much to rescue the show.

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

François de Carpentries' Oslo production of The Barber of Seville was both unfunny and underwhelming. 

Calixto Bieito's Tosca, despite an intriguingly modern setting, fails to make sparks fly.

After over a century, Debussy's Pelléas et Mélisande finally received its Norwegian première in a fascinating production by Barbora Horáková Joly.

The revival of Calixto Bieito's Carmen in Oslo proves a bumpy ride, with uneven singing and orchestral playing, saved by Katarina Bradić's captivating portrayal of the title heroine.

With his first foray into Rossini, Norwegian director Stefan Herheim turns La Cenerentola into a brilliantly funny spectacle, filled with thought provoking humour and outstanding singing.

Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.

Despite an excellent cast and some glorious singing, Stephen Langridge's oft-revived 2012 production of Puccini's Madama Butterfly never quite takes flight. 

Calixto Bieito's staging of Benjamin Britten's War Requiem is violent, shocking and uniquely powerful.

Director and choreographer Jo Strømgren's production of Gluck's Orfeo ed Euridice brings together ballet and opera, but succeeds only with limited results.

Looks can be deceiving in this beautifully sung revival of Thaddeus Strassberger's Oslo production of Mozart's The Marriage of Figaro.

Andreas Homoki's 2004 Turandot makes its way to Oslo, but fails to impress with less-than-halfbaked concepts and underwhelming singing.

Ole Andreas Tandberg's production of Lady Macbeth of Mtsensk gets a revival in Oslo, and proves even more chilling than the first time around.

Rolf Wallin and Mark Ravenhill’s new opera Elysium tackles fundamental questions about humanity itself, and largely succeeds. Despite slightly uneven music and libretto, the performers shine in this sci-fi opera.

Director Ole Anders Tandberg's production of Monteverdi's Il ritorno d'Ulisse expertly balances the line between irreverent humour and human tragedy.

Calixto Bieito's production of Carmen attempts to humanise the title character, but in doing so leaves the rest as caricatures.

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

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

François de Carpentries’ Oslo production of The Barber of Seville is back for its fourth revival. The singing ranges from the uninteresting to the outright excellent, but the production can still provide a thoroughly entertaining evening at the opera.

Tatyana Gürbaca's new production of La traviata in Oslo may be on the heavy-handed side, but still offers fascinating new insights into Verdi's opera.

Director Johannes Erath sets Wagner's Lohengrin balancing on a knife edge between fantasy and reality in a beautiful, thought-provoking and magnificently sung production.

Jüri Reinvere's new operatic adaptation of Ibsen's immortal drama is a decidedly uneven experience, but not without potential.

Theodor Strassberger's Oslo production of Mozart's Don Giovanni offers a fresh, mostly well-sung take on an old classic.

Calixto Bieito's production of Offenbach's The Tales of Hoffmann is astoundingly sung, but suffers from excessive cuts and occasionally odd direction.

Director Ole Anders Tandberg's new production of Shostakovich's Lady Macbeth of the Mtsensk District is gloriously sung, but the violent and vulgar production has a tendency to go overboard.

Calixto Bieito's The Tales of Hoffmann at the Norwegian National Opera contains some very effective and at times striking moments, but the production turned out something of a disappointment overall.

The world ended yesterday. Possibly. It probably didn’t, but the facts are still kind of fuzzy.György Ligeti’s only opera, Le grand macabre is a strange piece. The story is straightforward enough: Nekrotzar, a Death-like figure, travels around the world of Breughelland warning its citizens of impending doom – a giant comet will destroy Earth at midnight.

Entering the Norwegian National Opera for their season opener of Mozart’s Le nozze di Figaro, I imagined it would be a pretty conventional production and was hoping for some good singing. Turns out, I was only partly right.

For his fourth production for the new Oslo opera house, Norwegian director Stefan Herheim turned his attention to Richard Strauss’ one-act opera Salome. This production is a co-production with the Salzburg Easter Festival (where this production premièred in 2011) and the Teatro Real in Madrid.

Nothing says “Happy Easter” like a bit of alcohol-fuelled murder on the church steps, right? With their new double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, the Norwegian National Opera certainly seems to think so!The two productions were done on practically the same sets, albeit with a few differences, which did create a rather wonderful sense of continuity from the fir