En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | La Voix humaine

Dans la tragédie lyrique de Poulenc, la soprano et cheffe subjugue, parvenant à tirer de l'orchestre un son luxuriant tout en incarnant à la perfection l'universalité de la souffrance amoureuse.

Reprise magistrale de la production signée Krzysztof Warlikowski, avec John Relyea, Ekaterina Gubanova et la majestueuse Barbara Hannigan.

Un cocktail explosif (Levinas, Mozart, Kourliandski et Poulenc) pour un concert "Crazy Wek-End". 

Anna Caterina Antonacci, Voix humaine par excellence, appelée par le piano complice de Donald Sulzen à l’Opéra de Lyon

Strong performances from Elīna Garanča, Barbara Hannigan and John Relyea plus innovative stage direction make for a standout production.

Dos obras que reflejan las complejidades de la psique humana de manera magistral llevadas al escenario por Christof Loy, con las voces de Ermonela Jaho y Malin Byström.

The multitalented soprano and conductor gives a stupendous performance with the Orchestre symphonique de Montréal. 

Monodramas by Francis Poulenc, Kaija Saariaho and Jack Symonds feature in a triple bill on the themes of love, loss and absence. 

A passionate and despairing La Voix humaine from Danielle de Niese make for a special second half, after Jaime Martín conducts a satisfactory Brahms' Third Symphony.

Karita Mattila and Keval Shah call up all their combined artistry at Wigmore Hall for searing performances of Poulenc’s La Voix humaine and a quartet of torch songs.

With Laurent Pelly directing, a very French evening sees a veritable feat of singing from Stéphanie d'Oustrac in La Voix humaine, followed by riotous surrealism in Les Mamelles de Tirésias.

Stripped of melodramatic excess, soprano Patricia Racette and director James Darrah craft a portrait of a desperate, lonely woman that is uncomfortably, thrillingly human.

Soprano France Bellemare was impressive, both vocally and theatrically, in Poulenc's La Voix humaine.

Chaotic staging detracts from imaginative pairing of Poulenc's songs with his one-act, one-performer opera. 

Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.

One wonders why Emma Dante's concept, which explores the plight of women crushed by romantic catastrophes, is not done more often.

Poulenc's one-act, one-side-of-a-phone-conversation opera provides a perfect vehicle for Anne-Sophie Duprels to demonstrate her talents as a singing actor.

Antonacci's voice shines even in the art songs that pad out the evening, but it's Poulenc's one-act opera that gives San Francisco Opera Lab's current offering dramatic weight (and makes it worth seeing).

A daring, fascinating pairing of two modern operas by Krzysztof Warlikowski in Paris. 

Anna Caterina Antonacci's rare appearance in New York was another rewarding occasion to savor, with a recital of French songs followed by an unforgettable performance of Poulenc's La voix humaine.

The evening begins with La Voix Humaine: “Elle” is staring at us fixedly for what seems like a minute, smoke from the cigarette in her fingers providing the only movement. She sits in an oblong frame surrounded by light bulbs, indicating a substantial mirror of the sort you might find backstage. The orchestra begins, and the music is edgy.