Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Bergen

Edward Gardner und Mari Eriksmoen verzauberten mit spätromantischen Pretiosen beim „Wintermezzo”-Konzert aus Norwegen.

Dieser Peter Grimes war die Geschichte zweier Talente: der Dirigent und der Sänger.

Jon Fosse's bleak tale of alienation is graced with fine performances from a strong cast and excellent playing by the Bergen Philharmonic Orchestra under Johannes Gustavsson.

Mary Miller bows out after ten years at the helm of Bergen National Opera with a defiant account of Mozart’s final opera. 

The finale of the Icelandic pianist's five-concert residency in the Bergen Philharmonic's Wintermezzo festival saw him play Grieg's Piano Concerto in A minor... this time in the same hall as the orchestra!

Christian Ihle Hadland’s piano sparkled in Ravel sandwiched by lively and joyful Rameau and Mozart.

The Bergen Phil and the Edvard Grieg Choir trace music from Elizabethan themes to 20th century works on them, culminating in Pärt's Cantus in Memory of Benjamin Britten.

A surprise "artist" gatecrashes the Festival's closing concert

A bracing evening of compositions by Unsuk Chin and Eivund Buene 

The Oslo String Quartet impresses in a carefully curated concert at Grieg's home. 

Bergen Philharmonic’s programme of Grieg’s Piano Concerto and Gubaidulina’s violin concerto Offertorium offered fascinating insight into the relationship between orchestra and soloist.

An impressively well-planned programme of mostly viola transcriptions by Grainger, Bach, Delius, Ellington and Grieg.

At their recital at the Bergen International Festival, Bryn Terfel and pianist Caradog Williams presented a programme of overwhelming sameness and neverending joviality.

Berlioz’s gargantuan Grande Messe des morts with the Bergen Philharmonic and Edward Gardner opened the Bergen International Festival with deafening climaxes and even more resounding silence.

Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.

Netia Jones is a visionary stage practitioner, but this show is a rare misjudgement.

Saariaho’s lush orchestral shapes could just as readily suggest ecstasy as agony.

Mark Lamos' staging is a riot of colour and movement; George Souglides gives us a masterclass in costumery; fine Italian singing illuminates this Norwegian première for Rossini's madcap Il turco in Italia.

If one had idly wondered how a programme of English love songs, sung by a German, would be received by a Norwegian audience, in a wet and windy Bergen, the answer came loud and clear at this week's International Festival.