Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Serena Malfi

A thoroughly enjoyable and brilliantly performed version of Rossini's great comic opera at the Sydney Opera House. 

Phelim McDermott’s Coney Island Così fan tutte returns to The Met, in sparkling vocal performances. 

The Met's spectators love Mozart’s opera, but they deserve an updated staging.

Everyone is in the know in Jan Philipp Gloger's “School for Lovers”, receiving its first revival at Covent Garden. 

Despite a great cast led by Marina Rebeka, La Fura dels Baus's unambitious approach to the myth of Faust and Dan Ettinger's noisy conducting prevent a brighter season opening at the Teatro Real.

Phelim McDermott’s new Met production is set in Brooklyn’s Coney Island in the late 1950s and is brilliantly vivid looking, but Mozart's music plays second fiddle. 

Under elegant leadership of conductor Harry Bicket, the Met's revival of the "Marriage of Figaro" succeeds with a strong ensemble of cast.

Retour sur le dernier volet de la triologie Da Ponte à Versailles sous la baguette de Marc Minkowski.

Questionable identities, clandestine messages, love and money are the stuffs of Gioacchino Rossini’s Il barbiere di Siviglia, revived again in Zurich.

The third opera of the Mozart-Da Ponte trilogy opens the opera festival in Drottningholm, the "Swedish Versailles", with a good cast beautifully conducted by Marc Minkowski.

La gazza ladra celebrates its 200th anniversary with a new production at La Scala, an earthbound effort from director Gabriele Salvatores, but it was Riccardo Chailly who drew the wrath of sections of the Milanese audience. 

Simon Keenlyside returned to the Met after absence and led a delightful cast of Don Giovanni at the Met.

A glittering production of Rossini's retelling of the Cinderella fairy tale at the Teatro San Carlo. 

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

The Bayerische Staatsoper's La clemenza di Tito features a bold staging, a talented cast of singer-actors, and a great orchestra. Time, place, and genders are all ambiguous, but none of that gets in the way of the story.

Elder led a performance that twinkled with Rossinian wit, while Serena Malfi left you clamouring for a swift return to Bow Street.

Guth's production is beautiful to look at, but fails to bring out the best in Mozart's drama.