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

Das hr-Sinfonieorchester unter Andrés Orozco-Estrada liefert eine Elektra voller Durchschlagskraft und Intensität.

François Xavier Roth gibt mit Salome in Köln sein Strauss-Operndebüt, das ebenso packend wie die Inszenierung von Ted Huffman ist.

Eine ausgezeichnete Besetzung unter dem Dirigat von Ádám Fischer macht Lust auf die weiteren Ring-Abende.

Unter der Leitung von Kiril Petrenko überzeugt die Bayerische Staatsoper in der gelungenen Neuinszenierung von Puccinis Il trittico mit meisterlichen Klängen und exzellenter Besetzung.

Eine musikalische Darbietung überwältigender Qualität unterstützt die Wiederaufnahme von Krzysztof Warlikowskis aufwendiger, vieldeutiger Strauss-Inszenierung.

Schön statt schaurig: Christian Thielemann und das Staatsopernorchester liefern die erwartete Sensation, Adrian Noble inszeniert klassich mit Anklängen an Alice im Wunderland.

Die zweite Oper des Ring-Zyklus in Wien holte mit ihrer mitreißenden, atemberaubenden Lesart Simon Rattles alles aus Orchester und Sängern heraus.

Die Wiederaufnahme von Wagners Ring-Zyklus an der Wiener Staatsoper wird im Rheingold von einer grandiosen Orchesterleistung unter Sir Simon Rattle eingeläutet.

Orchestra and singers reached great heights in this highly lyrical and dramatically flowing Frau ohne Schatten conducted by Yannick Nézet-Séguin.

Retrouvant ses musiciens de Rotterdam, Yannick Nézet-Séguin triomphe de la redoutable Femme sans ombre de Strauss, aidé par un plateau de toute première classe.

As the Sydney Opera House Concert Hall closes for extensive refurbishment, the Sydney Symphony Orchestra performs early, massive Mahler under Simone Young. 

Barenboim conducts Otto Nicolai's Falstaff opera with a warmth and affection that is sorely lacking on stage. 

Designer/director Antony McDonald treads a perfectly weighted path between light and dark of the fairytale; conductor Sebastian Weigle cooks up a Wagnerian storm; Michaela Schuster steals the show. A treat.

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

Petrenko's Puccini is bracingly alert, filled with colour and has a romantic sweep that is utterly transporting.

"She commands the stage, she commands the notes, she commands the tension": Christine Goerke's portrayal of Elektra haunts The Met. 

Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

Cinq ans après sa création au Teatro alla Scala, l’Opéra de Paris accueille pour dix représentations (avec une double distribution) la production de Lohengrin mise en scène par Claus Guth. Dire que ce Lohengrin était attendu relève de la litote. Ce spectacle marque le grand retour sur scène de Jonas Kaufmann, après quelque quatre mois d’absence et d’inquiétudes. L’effervescence en ce mercredi soir était donc à son comble.

L’Opéra de Paris remet au goût du jour Capriccio de Richard Strauss dans la mise en scène de Robert Carsen. L’œuvre est magnifiée par une distribution remarquable et un orchestre en très grande forme. 

After seven years at the helm, Andris Nelsons gave his last performance with the CBSO at Symphony Hall. His future in Boston is secured, but what of the CBSO?

Amber Wagner sings Elisabeth with a deepened command and an access to a horizon of sound that make it seem as though her throat had found six more inches of release. It’s a phenomenal performance.

With its minimalist but grandiose sets, the imposing sound of the Choir of the Dutch National Opera and the excellent conducting of Marc Albrecht, there is much to be enjoyed in this revival of Pierre Audi’s Lohengrin in Amsterdam.

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.

As the year of Wagner’s bicentennial approaches its end, De Nederlandse Opera concludes its latest revival of Pierre Audi’s Ring cycle with his 1998 production of Götterdämmerung.

In the Royal Opera revival of Richard Strauss’s Elektra, the overwhelming theme is blood, both metaphorical and literal.

Richard Strauss and Hugo von Hofmannsthal began their collaboration on Die Frau ohne Schatten (The Woman Without a Shadow) with utopian ambitions. Unfortunately they weren’t the same ones. For Hofmannsthal, this would finally be the opera where his poetry would be illuminated by rather than buried under the music.

My last opera of the year was also my first Wagner: a new Covent Garden production of Tannhäuser, directed by Tim Albery and conducted by Semyon Bychkov.First things first: Bychkov was magnificent.

Giacomo Puccini comprehensively eclipsed the other Italian composers of his era. Three of them remain in the repertoire as one hit wonders: Mascagni, Leoncavallo and Francesco Cilea, whose four act Adriana Lecouvreur opened at Covent Garden last night.