Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Danielle de Niese

David Bösch gelingt es, die Typenkomödie bruchlos zu einem Drama von heute zu gestalten.

Robert Carsen inszeniert Händels Agrippina als köstliche Sex & Crime-Komödie mit Tempo, Witz und italienischer Eleganz.

Danielle de Niese's assumes the title role at the Sydney Opera House, leading an impressive cast with an interesting approach to characterisation with a somewhat over the top blingy setting. 

Glyndebourne's new production of Lehár's greatest work is interpreted with his customary flair and fun by Cal McCrystal. 

Thomas Adès conducts music from his own ballet score to The Dante Project and Stravinsky's Persephone. 

A passionate and despairing La Voix humaine from Danielle de Niese make for a special second half, after Jaime Martín conducts a satisfactory Brahms' Third Symphony.

English National Opera's It’s a Wonderful Life makes for a feel-good evening of theatre, but it requires a sweet tooth.

Richard Jones' production is revived again at Covent Garden, where Juan Diego Flórez and Ailyn Pérez lead a convincing cast. 

A uniformly excellent ensemble enlivens the Royal Opera House's latest Bohème revival.

Matthew Aucoin’s Eurydice enjoys its world premiere at LA Opera. 

Carsen's modern mise en scène of Handel's opera did not stand out for originality, but for finesse and elegance and that was substantially appreciated by the audience.

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

Mis en scène par Laurent Pelly, Don Pasquale de Donizetti est présenté à La Monnaie : une machinerie réglée au millimètre près, sur la fabuleuse vis comica d’une musique extraordinairement efficace.

A committed cast make this  a beautifully performed ensemble piece in which the tragedy of young love cut short by untimely disease is compellingly put across.

Cast and choir snaked and kicked their legs through the aisles of the hall – picking up audience members along the way – leading to a riotous on-stage dance.

Glyndebourne's annual performance at the Proms proves dramatically untraditional but musically solid.

Annabel Arden's new production, although decently sung and visually striking, is seriously under-directed, allowing forced acting to blunt the humour.

It is the fusion of textures and styles coming from the pit that gives Bel Canto a memorable musical profile.

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

Sultry Spanish rhythms and bawdy humour are counterbalanced by Gallic charm in the return to Glyndebourne of Laurent Pelly’s productions of L’Heure espagnole and L’Enfant et les sortilèges. Danielle de Niese joined a largely Francophone cast to ensure this joyous revival fizzed.

After a six week hiatus, the Metropolitan Opera's new Le nozze di Figaro has returned, with a new cast and conductor.

Director Christopher Alden's charming Partenope slinks its Surrealist way into San Francisco.

The wait was long between James Levine’s 2,442nd and 2,443rd performances at the Metropolitan Opera, but it was worth it. What’s more, Lesley Koenig’s 1996 production of Così wears its age well.

The Australian Chamber Orchestra, known both for its innovative programming and for the tightness of the ensemble playing, displayed both qualities on Saturday night, the second stop in a five-city, nine-concert tour.

Danielle de Niese, the much-marketed new star of the opera world, has been performing at the Met in The Enchanted Island this week, and came downtown on a night off this Monday to promote her new album of Baroque arias. A packed house filled (Le) Poisson Rouge, a club popular for both classical and mainstream artists, despite its unsuited acoustic.

Read our review of Phelim McDermott's production of The Enchanted Island by Jeremy Sams in its 2008 broadcast from the Met Opera in New York.

Nikolaus Harnoncourt is the elder statesman of the historical performance movement and one of the pillars of Vienna’s musical scene.

Read our review of Mark Morris' production of Gluck­'s Orfeo ed Euridice in its 2009 broadcast from the Met Opera in New York.