En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Oedipus Rex

S’il fallait choisir parmi toutes les belles idées de mise en scène de ce très réussi Oedipus Rex, on s’accorderait sans doute sur celle-ci : la primauté incontestée de l’esthétique et des intentions de Stravinski.

The Vienna Philharmonic's first concert at this year's Salzburg Festival pairs Oedipus Rex with the Symphonie fantastique, with Esa-Pekka Salonen stepping in for Lorenzo Viotti. 

When the director walks four weeks ahead of opening night, Dutch National Opera and Ballet hastily create a searing double bill of classical tragedy. 

Unstaged performances of Stravinsky's Oedipus Rex and George Walker's Lilacs highlighted musical inadequacies and deprived audiences of the creative productions they've come to expect from this company.

Kirill Petrenko launches the Berlin Philharmonic's “Golden Twenties” series with Kurt Weill's First Symphony and Stravinsky's Oedipus Rex.

Una tarde que nos dio que pensar sobre el destino de los héroes y la insondabilidad de los oráculos: reabrir la herida sobre lo humano, demasiado humano.

Lydia Steier liefert mit einem doppelten Opernabend ein überzeugendes Hausdebüt an der Oper Frankfurt.

Peter Sellars's much-travelled staging of Stravinsky's Oedipus Rex provided a powerful opening for the 15th Baltic Sea Festival under the festival's artistic director Esa-Pekka Salonen.

Searing performances from a mixed cast, superb choir and orchestra; all brilliantly conducted by Esa-Pekka Salonen.

...ein fulminantes Comeback bei den Berlinern, das hoffentlich neue fruchtbare Basis für künftige Zusamenarbeiten ist.

With his one act opera The Rise of Spinoza Theo Loevendie wrought an attractive opera, that may well become part of the repertoire

An impressive performance of Oedipus Rex under Sakari Oramo, demonstrating that his rapport with his new orchestra has grown rapidly. 

There’s something quite strongly “neoclassical” about the whole historically-informed performance movement. Someone like Sir John Eliot Gardiner, who has championed the use of detailed historical knowledge of performance practice and instruments, has never actually been attempting to transport us all back to the 18th century. That would be futile, obviously.

Conductor H.K. Gruber’s visits to the BBC Philharmonic are guaranteed to be unmissable concerts of the season; with unquenchable enthusiasm and pride in the music he programmes, Gruber, (known affectionately to all as “Nali”), always assures a stirring performance.

The prospect of writing about one of the world’s greatest orchestras, conducted by one of the world’s greatest conductors, playing one of the world’s most revolutionary pieces of music left me excited, if not a little daunted.