En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | La Mort d'Ophélie, H92

À travers l’Orient fantasmé des compositeurs français, c’était un autoportrait vocal que nous offrait Sabine Devieilhe à la Philharmonie. 

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

Opera Rara's Donizetti Song Project has grown into a rewarding endeavour as demonstrated in its latest Donizetti & Friends recital featuring Michael Spyres and Marie-Nicole Lemieux. 

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).

In a thoroughly riveting recital at the Concertgebouw, soprano Anna Prohaska probes Ophelia’s psyche through songs from the nineteenth century onwards.

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.

One would think that either Renée Fleming or Susan Graham alone would be reason enough to sell out a large venue such as Disney Hall. But everything is bigger in Hollywood, and the LA Phil brought both artists together for a one-night recital of French art song. But even that wasn’t enough.

Susan Graham is the mezzo representative of the generation of American singers, including Barbara Bonney, Renée Fleming, Dawn Upshaw and Sylvia McNair, who rose to prominence in the mid to late 1980s and distinguished themselves internationally with their superlative techniques, gorgeous lyric instruments, and impeccable professionalism.