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

Ein schwungvoll komödiantischer Abend am Haus am Ring – was will das Rossini-Herz mehr?!

La ya clásica producción de Mario Gas de L'elisir d'amore de Donizetti vuelve al Liceu con una primera función irregular, aun con encanto suficiente para sostener la velada.

In a thrilling concert oscillating between lush sentiment and explosive tension, pianist Lise de la Salle and conductor Diego Matheuz lead the NSO through Rachmaninov’s emotional grandeur and Shostakovich’s wartime defiance. 

An excellent cast led by Clémentine Margaine livens up the first revival of Carrie Cracknell's all-American Carmen at the Metropolitan Opera. 

Young Swedish violin sensation delivers a magnificent Beethoven Violin Concerto with Diego Matheuz and the NSO. 

Opening the 2022 Rossini Opera Festival in Pesaro, Hugo de Ana's new production plunges Le Comte Ory into Hieronymus Bosch’s lusty triptych. 

Osborn absolutely lives the part; he negotiated formidable heights, intricate passage work and the sheer volume of notes with style and clarity as well as colour and nuance. 

The delightful farce in one act in a new, imaginative production inspired by Lewis Carroll.

Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.

Diego Matheuz convinces the public in his Madrid debut conducting the Orquesta Nacional de España. Krysztof Wisniewski and Cristina Pozas shine as soloists, while Ginastera's Estancia was the highlight of the concert.

It is always a risk and a pleasure to programme some of the most well known works in the classical repertoire, and Italy’s Orchestra Mozart, joined by young Venezuelan conductor Diego Matheuz and pianist Maria João Pires, had some of the favourites on show in the Queen Elizabeth Hall on Thursday evening.They opened the concert with the effervescent overture to Mozart’s Marriage of Figaro.

For those who like their orchestral music Romantic, strident and generally unrelenting, the Royal Philharmonic Orchestra’s concert on 1 November was just the job. Korngold’s Violin Concerto in D major, played by Nicola Benedetti, was sandwiched in between two emotionally charged pieces of Tchaikovksy as the RPO under Diego Matheuz played to a packed Royal Festival Hall.

Wednesday’s performance by the Melbourne Symphony Orchestra, entitled “Rising Star,” was the third in a series of four free concerts this year at the Sidney Myer Music Bowl. For over fifty years, these annual free concerts have given audiences in Melbourne a unique opportunity to sample select works from the classical music repertoire in open air.

Zoltán Kodály was an ethnomusicographer as much as a composer: he studied the folk music of Hungary, and this influence can be heard in most of his works. Dances of Galánta is no exception, yet it is so much more than folk melodies arranged for an orchestra.

The theme of the first half of last night’s concert seemed to be love, in two of its many guises. Firstly of the sickly sweet variety: the love between hero and heroine in Berlioz’ Benvenuto Cellini, the opera from which he took material for the Roman Carnival overture.