En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | La Femme sans ombre (Die Frau ohne Schatten)

Pour la première fois représenté dans la capitale des Gaules, l'opéra virtuose de Richard Strauss bénéficie d'une extraordinaire interprétation musicale qui vient compenser les limites de la mise en scène.

Retrouvant ses musiciens de Rotterdam, Yannick Nézet-Séguin triomphe de la redoutable Femme sans ombre de Strauss, aidé par un plateau de toute première classe.

Tobias Kratzer gives his third Strauss production in three seasons at Deutsche Oper Berlin another contemporary spin. 

Richard Strauss and Hugo von Hofmannsthal's ode to humanity, returning after an eleven-year absence, suffers from generalized acting and inconsistent musical values.

David Bösch directs a creative and thoughtful new production of Die Frau ohne Schatten at the Semperoper in Christian Thielemann's final opera as Principal Conductor. 

Vincent Huguet's 2019 production of Richard Strauss‘ masterpiece is given a stupendous revival at the Wiener Staatsoper with an excellent ensemble of soloists.

Lydia Steiers Frau ohne Schatten eröffnet mit einer bildgewaltigen Inszenierung die diesjährigen Osterfestspiele in Baden-Baden.

Eine von Joana Mallwitz hoch motivierte Staatsphilharmonie und fulminante Leistungen der Solisten machten das sperrige Sujet zum Super-Saisonstart.

Richard Strauss' sperrige Märchenoper bekam überzeugend lichtes Profil in Krzysztof Warlikowskis Inszenierung bei den Opernfestspielen.

Orchestra and singers reached great heights in this highly lyrical and dramatically flowing Frau ohne Schatten conducted by Yannick Nézet-Séguin.

Strauss-Versteher Christian Thielemann lädt am hundertsten Jahrestag der Welturaufführung zum musikalischen Träumen ein.

At the Enescu Festival n Bucharest Vladimir Jurowski celebrates the centennial of Die Frau one Schatten’s premiere.

Young musicians and experienced stars combine for a thrilling Frau in its centenary year

The outstanding trio of Nylund, Stemme and Herlitzius soars above a Vienna State Opera Orchestra in thunderous form, led by Christian Thielemann to celebrate the Staatsoper's 150th birthday in style.

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

A musical performance of stunning quality underpins this revival of Krzysztof Warlikowski's lavish, ambiguous Strauss staging.

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

The music makes this an enchanting Die Frau ohne Schatten, even if Warlikowski’s fantastical production remains an unsolved puzzle.

Zurich’s Opera House takes on Die Frau ohne Schatten, one of Richard Strauss’ most convoluted and technically demanding works. 

A revival of the new production of Die Frau ohne Schatten at the Munich Opera Festival brings back four of the principals in a brilliantly sung performance of Richard Strauss' masterpiece.

For an inventive production, fine singing and magnificent orchestral playing, this new Leipzig Die Frau ohne Schatten deserves every success.

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.

The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.

Strauss’ Die Frau Ohne Schatten is perhaps his most problematic opera, in that it contains all that is best and worst in him, to the most maddening degrees.

Once upon a time, an Emperor was hunting when his red falcon caught a white gazelle. As he grasped the animal, it transformed into a beautiful princess in his arms and they fell in love. She was the daughter of Keikobad, the King of the spirit world, a woman of such translucent beauty that she cast no shadow, but she lived under a curse...

Richard Strauss and Hugo von Hofmannsthal began their collaboration on Die Frau ohne Schatten (The Woman Without a Shadow) with utopian ambitions. Unfortunately they weren’t the same ones. For Hofmannsthal, this would finally be the opera where his poetry would be illuminated by rather than buried under the music.