En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sydney Opera House: Joan Sutherland Theatre

Opera's greatest romcom glitters on its third outing at the Sydney Opera House. 

Bangarra's latest triple bill creates a powerful evening of resilience, belonging and community. 

This revival of Romeo and Juliet combines vivid staging and technical leads, but the lover's careful partnership lacks the volatility that makes young love convincing and tragedy believable. 

Flora unites the Australian Ballet with Bangarra Dance Theatre in a glorious collaboration that traces loss, renewal, resilience, cultural continuity and enduring vitality of the body. 

Eugene Onegin returns to the Sydney Opera house in Kasper Holten’s slightly awkward production but the singing and orchestral playing are exemplary. 

Elijah Moshinsky’s 33-year-old production of Hansel and Gretel hasn’t aged well. 

Opera Australia's new Turandot succeeds with musical, dramatic and visual values with a mix of local and imported talent. 

Siobhan Stagg is an outstanding Susanna in a strongly cast and well produced Marriage of Figaro at the Sydney Opera House

Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

Danielle de Niese's assumes the title role at the Sydney Opera House, leading an impressive cast with an interesting approach to characterisation with a somewhat over the top blingy setting. 

Bangarra Dance Theatre's 2025 commissioned work reclaims space and offers ambitious visuals, but sacrifices intimacy. 

Neumeier's Nijinsky explores the professional and personal life of the legendary dancer with intense choreography and powerful performances.  

Yaron Lifschitz mesmerises from the opening tableaux’s row of candles in his Purcell staging for Opera Australia, featuring Circa, a Brisbane-based circus company. 

Dean Bryant's production of Leonard Bernstein’s operetta leans more towards musical theatre, blending French period costumes with weak attempts at Aussie humour. 

Emotions on stage are matched by those rising from the pit as Sarah Giles' popular production returns to Sydney. 

A thoroughly enjoyable and brilliantly performed version of Rossini's great comic opera at the Sydney Opera House. 

This abridged version of Massenet's Cendrillon was clearly chosen for a wide Sydney audience, succeeding as a popular offering in the Australian summer holiday season. 

Brimming with festive season joy, the Australian Ballet gives an exuberant performance of a Peter Wright classic: The Nutcracker. 

The Australian Ballet’s first commissioned full-length work in 20 years, based on the life of Oscar Wilde, fails to fully take flight. 

Opera Australia's well nigh perfect production of Mozart's Così fan tutte excels in every dimension, with an excellent ambiguous conclusion.

80% less of Shakespeare's text adds up to more intensity in Brett Dean's Hamlet as Neil Armfield's staging is mounted by Opera Australia. 

A fine ensemble cast brings Puccini's triptych of one-acters to the Sydney Opera House stage, with stand-out performances from Lauren Fagan, Viktor Antipenko, Simon Meadows and Angela Hogan.

In a perspective-shifting feast of dance, theatre and cinema, Benjamin Millepied's L.A. Dance Project retells Romeo and Juliet in the Sydney Opera House. 

The Australian Ballet presents a diverse double bill of contemporary and classical dance, including its first major work from choreographer in residence Stephanie Lake. Unfortunately, only the classical piece exhilarates.

Swedish choreographer, Johan Inger, reimagines Carmen for The Australian Ballet, and purports to flip the script on "toxic masculinity" and the 200 year old tale of power and passion.  

Pinchgut Opera presents magnificent music and a timeless ethical debate on faith versus sectarian difference. 

Man of the circus Yaron Lifschitz gives Orpheus and Euridice the Gesamtkunstwerk treatment in his involving production that arrives from Brisbane. 

Sarah Giles' new production replaces Elijah Moshinsky's venerable staging, and the talented cast delivers a successful performance. 

Damiano Michieletto's imaginative take on Offenbach's The Tales of Hoffmann is lavish fun, with star turns from Jessica Pratt, Iván Ayón Rivas and Marko Mimica.

Despite high quality singing, arresting video cannot replace real direction in Davide Livermore’s digital production.

Could this be the last triumphant outing for the late, great Elijah Moshinksy's moving production of Rigoletto?

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

Andrei Kymach and Yuri Kissin deliver standout Australian debuts in a revival of Sir David McVicar's dark, unshrinking Don Giovanni.

The Australian Ballet do full justice to Shakespeare's epic tale of star-crossed lovers. Featuring a restaging of John Cranko's famous ballet, the first in almost twenty years, both the ensemble and leads shine in bringing Verona to life. 

Australian Ballet's latest triple bill features fresh young talent and new names to watch in creations by Wayne McGregor, Alice Topp and Justin Peck.

Gorgeous sets and costumes aren't quite enough to make this La traviata revival sparkle.

A mid-performance jump-in by tenor Thomas Strong saves the show on the opening night of this revival of Graeme Murphy's production.

The Australian Ballet's impressively-danced Kunstkamer is a work of astonishing scale, originality, and warmth, choreographed by Paul Lighfoot, Sol León, Marco Goecke and Crystal Pite.

Yuri Possokhov's Anna Karenina aims to be a dark psychological drama, but its uneven character development and unengaging choreography fail to satisfy.

187 years after its Parisian debut, Halévy's La Juive receives its Australian premiere. A sterling cast under Carlo Montanaro reveals some unexpected beauties (and occasional longueurs) in this classic of French grand opéra.

Splendid performances by Yonghoon Lee and Karah Son breathe life into Harry Kupfer’s 20-year-old production.

Three outstanding debuts and a warm and funny ensemble shine in David McVicar's naturalistic Marriage of Figaro. 

Graeme Murphy's legendary staging of Puccini's final opera remains a vital combination of strong storytelling and visual panache.

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

John Bell's reworking brings Tosca to 1943 Nazi-ruled Rome, featuring gorgeous sets and Carmen Giannatassio's striking Opera Australia debut in the title role.

Role and production debuts in no way diminished the psychological impact of this intense hour with Bartók and Balázs.

A mixed-bag of an evening at the Sydney Opera House, with a production of Ernani imported from La Scala failing to solve the inherent challenges of the work, despite good performances from the cast.

Livermore updates the scene to the 1930s, but seems to be setting Mussolini's Italians against invading Germans. 

The revival of David McVicar's production of Gounod's Faust provides spectacle and entertainment in spades, with strong performances from Ivan Magrì (Faust) and Teddy Tahu Rhodes (Méphistophélès).