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So schön das Orchester im Walzertakt schwingt, so lustlos und unschön sind Beschallung und Inszenierung.

In einer reich bebilderten und bunt ausgestatteten Revue erweckt der Dirigent Matthew Toogood das Erfolgsmusical vom Broadway auf der Opernbühne zu neuem Leben.

Klassisch inszeniert und schwungvoll musiziert wird die Wandlung einer oststeirischen Eliza Doolittle vom „gscheatn Bleamalmadls“ zur Lady in der Grazer Oper zum kurzweiligen Vergnügen. 

Frederick Loewes My Fair Lady im englischen Original mit anspruchsvollem Bild an der Oper Köln.

Fleming's program, an outgrowth of her Grammy-winning album Voice of Nature: The Anthropocene, makes an urgent case for the preservation of the world's natural wonders.

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. 

In place of a full musical, this revue highlighted classic and contemporary songs that celebrate places and cultures, although some selections seemed questionable out of context.

En compagnie de William Christie et ses Arts Florissants, la mezzo Lea Desandre et le contre-ténor Jakub Józef Orliński ont réservé une soirée délectable avec leur programme très original.   

Movement was so effectively utilised in this production, with elements of ballet, modern and Scottish folk melded in true Agnes de Mille fashion.

Renée Fleming joins the Pacific Symphony for Strauss, Italian Songs and Rodgers and Hammerstein. 

What a delight to revisit this 60th anniversary production of My Fair Lady in the directorial hands of its original Eliza, Dame Julie Andrews. 

What does any theatergoer want from a stage musical? For starters, beautiful singing, solid acting, striking costumes, clever direction, and characters to love and to loathe. A melodic score with a few toe-tappers and a smart book and lyrics. The new production of Camelot presented at the Glimmerglass Festival is that theatergoer’s dream – a crowning glory, a royal treat.

The New Zealand Symphony Orchestra really has the perfect Wagner sound. Their full, vibrant string tone and magnificent pealing brass were fully in evidence in a thrilling rendition of the concert version of the overture from Tannhäuser. Few moments in music are as exciting as the build-up to the Big Tune in this piece, and the orchestra’s performance here was barnstorming yet perfectly accurate.

When I heard that Nathan Gunn was opening Washington National Opera’s 2012-13 season Celebrity Series, I could not be more excited. Indeed, this American baritone, known in the musical world as “the opera divo”, represents everything that today’s opera fans look for in a singer: a beautiful voice, first-class acting, an appealing physique and of course, a great sense of humor.

John Wilson and his orchestra are something of a modern-day Proms legend, having received rave reviews for last year’s “Hooray for Hollywood” and for the Rodgers & Hammerstein Prom in 2010. Nostalgia is fashionable, and Wilson knows it, but he is not content to rest on his laurels.