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

The director drains the life out of an impassioned opera with a staging devoid of authenticity and ideas.

A chilly reception for director Kay Link's fresh take on a mythical Czech heroine mars an otherwise superb performance.

Dvořák's failed King and Charcoal Burner gets a second chance and new life at his namesake festival.

Realism elbows aside romanticism in this dark departure from a star-studded tradition.

Smetana's Libuše makes a timely reappearance in Prague.

Clad in sulphurous yellow with beaded jet shoulder pads she looked well able to vanquish Lohengrin in single combat with the swish of her cloak.

A concert performance of Dvořák’s Dimitrij opened the fourth season of Boston’s intrepid Odyssey Opera, constituting the US première of Milan Pospíšil’s 2004 critical edition of the original 1882 score. 

“What Czech does not like music?” declares Beneš, the jailor in Smetana’s opera Dalibor. Certainly not Jiří Bělohlávek, who is as superb an advocate for Czech music as any conductor in the world right now.

Despite some staging problems, a Czech rarity gives the National Theater's new opera season a rousing start, with a vibrant score beautifully realized by conductor John Fiore.

With a production in a style with which I was not at all familiar and which I found very true to the work's spirit, this Rusalka at the Czech National Theatre in Prague was a memorable evening's opera.

Tenor Daniel Frank impressed in the title role in the Prague State Opera's new Tannhäuser, directed by Andrejs Žagars – but the production itself suffered from a lack of interpretation and inventiveness.