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

Eine Operettenrarität bringt die Oper Graz in einer konzertanten Version zur österreichischen Erstaufführung.

Manchmal kommt doch Besseres nach: Die Nachfolgerin der beliebten Produktion aus den Achtzigern ist aufregender denn je.

Die Volksoper beweist mit einem pointensicheren Ensemble und walzerseligen Abend einmal mehr, dass Operette ihre Kernkompetenz ist.

Die Oper Graz bewies bei Emmerich Kálmáns Operette, dass gute Sänger und ein hochmotiviertes Orchester noch das seichteste Libretto vergessen machen können.

Opulenz in Bild und Ton, garniert mit Wiener Schmäh.

Der Volksoper Wien gelingt bei Emmerich Kálmáns Operette die Gratwanderung zwischen fröhlicher Party und latenter Untergangsstimmung und bietet ein temperamentvolles Ensemble und Orchester auf.

Soprano Cornelia Beskow and accordionist Leo Florin join O/Modernt for a night of gypsy vim and Viennese swing at Wigmore Hall.

In her New York recital debut, the young Norwegian soprano displays the extent of her vocal and theatrical power in an unusually wide-ranging program of songs and opera arias. 

The Hallé and conductor Stephen Bell usher in 2022 with a joyful Viennese concert of music by the Strauss family and other composers. 

Kálmán's operetta brilliantly updated to the super-rich of today, with starry singing from Annette Dasch and Pavol Breslik.

Robert Murray is the standout performer in a night of waltzes and numbers from operetta.

This exhilarating remake of Kálmán's 1928 operetta gem is worth booking a trip to Budapest to catch it.

El tenor alemán Klaus Florian Vogt presentó en el Festival de Peralada un programa desnortado y en el que apenas brilló como intérprete, demasiado aterido por el formato de recital, con el que sin duda está poco familiarizado. 

Budapest Operetta Theatre's hundreth-anniversary touring production of Kalman's operetta is irresistably fun. The silly plot and catchy tunes, delivered by an excellent cast and orchestra, are sure to provoke smiles and earworms.

Emmerich Kálmán’s Gräfin Mariza is celebrating her 90th birthday this year, but just like my slightly younger great-aunts, who introduced me to this operetta at the tender age of five, she is far from ready for a care home. Thomas Enzinger and set/costume designer Toto have come up with another imaginative response to the question of why and how the bygone genre of operetta should be produced today.

On August 17th, the Budapest Operetta Theater presented Emmerich Kalman’s beloved classic Die Csárdásfürstin at Berlin’s Waldbühne amphitheater.

Die Csárdásfürstin is set at the beginning of World War I, a time of uncertainty and fear, but also one where the ruling classes of the Austro-Hungarian monarchy were partying like there was no tomorrow.

The Volksoper Wien’s first-rate production of “Die Csárdásfürstin” (“The Csárdás Princess”) offers a rare chance to waltz through one of operetta’s most tuneful hits. Emmerich Kálmán’s score, to a libretto by Béla Jenbach, is a frothy concoction of romance, hedonism, and too much time spent in nightclubs.