En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Le Tour d'écrou

Faire naviguer les différents protagonistes de cette œuvre dans le huis clos sombre de la demeure de Bly, traiter les émotions de ces différents personnages sous le prisme de leur inconscient et rendre compte d’un réalisme froid tout au long de cet production de The Turn of the screw reprise à l'Opéra national du Rhin.

Following her Billy Budd and Peter Grimes, Deborah Warner directs a third Britten opera at the Teatro Costanzi. 

Isabella Bywater directs an evocative new production of Britten’s ghost opera, well performed at the Coliseum. 

Anthony Almeida and Rosanna Vize's deconstructed ghostly country house provides plenty of tension; fine vocal qualities are marred by poor intelligibility.

Louisa Muller returns to revive her 2019 production, preserving the ambiguity – did the Governess see these things or imagine them? 

A highly satisfying level of polish in La Monnaie's stream in which one recognizes a precisely executed live performance at its core – one that would be thrilling to experience in person. 

When the pandemic struck and theatres were locked down, OperaGlass Works' staging of The Turn of the Screw was an early casualty. Creative thinking turned the production into a film, with London's oldest music hall the set. 

A disappointing decision to downplay the ghosts and uneven performances made for a difficult and distracting in situ staging of Britten's adaptation of the classic Henry James thriller. 

Astonishingly vivid performances from an ensemble cast made it one of the most outstanding of their recent productions, an auspicious sign as de Mallet Burgess takes over the General Directorship of the company.

Director Louisa Muller overcomes the problems of opening a ghost story in natural daylight to deliver plenty of operatic chills. 

As the Governess Alison Rose was the ideal suffering soprano, her eyes an imbroglio of psychological disturbances.

It's hard to find anything not to admire in a thrillingly strong production of Britten's haunting chamber opera. 

Britten's The Turn of the Screw finally makes its debut at La Scala in Kasper Holten's eerie staging. 

The Aurora Orchestra defies tradition and turns Britten’s ghostly Turn of the Screw into a kind of a dramatic ‘installation’

Claus Guth gives the Staatsoper Berlin a Turn of the Screw unlike any other.

Zurich's The Turn of the Screw is a masterful staging of the Benjamin Britten's musical narrative of Henry James' ghost story. 

Enjôleur, irréel et effrayant, doté d'une solide distribution de jeunes chanteurs : difficile d'imaginer un meilleur Tour d'écrou que celui de la version de Jonathan Kent à Glyndebourne, redonnée par Francesca Gilpin à l'occasion de leur tournée 2014.

Britten's score achieves his usual kaleidoscope of different colours, played marvellously by the City of London Sinfonia under Steuart Bedford. Annilese Miskimmon's production yields an intense dose of psycho-dramatic tension.

Britten’s The Turn of the Screw, part of the London Symphony Orchestra’s contribution to the Britten 100 celebrations, was supposed to have been conducted by Sir Colin Davis; it was instead dedicated to his memory following his death last Sunday.

Benjamin Britten’s 1954 opera The Turn of the Screw is a sensible choice for the New York City Opera: its chamber orchestration and emotional intimacy make it unsuitable for production by the Met Opera (against which every other company in town must define itself), and its claustrophobia would seem to offer a great opportunity for one of the company’s more innovative directors to create something

Henry James’ chilling 1898 novella The Turn of the Screw is a curious story and might be considered a gift to any composer as the basis of an extraordinarily sinister opera libretto.