Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Andrei Bondarenko

Lotte de Beer gibt Puccinis Oper einen neuen – feministischen – Anstrich.

Lotte de Beer wagt ein Capriccio aus Peter Tschakowskys Jolanthe und dem Nussknacker. Durchweg unterhaltsam, aber nicht bahnbrechend.

Glücklich, wer ein Taschentuch zur Hand hatte - die historische Produktion von La bohème an der Bayerischen Staatsoper ist auch nach fast 50 Jahren noch so ergreifend wie eh und je.

Eugene Onegin returns to the Sydney Opera house in Kasper Holten’s slightly awkward production but the singing and orchestral playing are exemplary. 

Damiano Michieletto is entrusted with the first staging of Lohengrin in Rome for 50 years, but his distracting staging is redeemed by the musical side of things. 

Strong musical performances in a flawed and confused production revived for the autumn season at Glyndebourne. 

The Isle of the Dead and The Bells make gloomy bookends to the final concert of the season, but Mihhail Gerts makes a great case for both at the National Concert Hall. 

A beautiful 17th-century setting does nothing to dim the freshness and relevance of Sir David McVicar's production for Opera Australia.

If ever a new production of a Mozart opera had a riveting backstory, this one is it. 

The Netherlands Radio Philharmonic under the baton of conductor Vasily Petrenko uncovers the magic of Rimsky-Korsakov’s exotic score. 

Primera actuación de la temporada del Coro Nacional de España que junto a la Orquesta ofrecieron una memorable versión del Requiem de Fauré. Completaba el programa el concierto de Beethoven con Zimmermann como solista intachable en una interesante conjunción con la orquesta.

Sir David McVicar’s new production of Pelléas et Mélisande for Scottish Opera is stylish and lit like a painting. 

In Donizetti’s most popular comic opera, the great mix of slapstick buffa and an obtuse venue make up the stuffs of what audiences continue to love. 

Zurich’s unexpected and original twists on Giacomo Puccini’s great opera was riddled with gimmickry. 

The bells of Mussorgsky, Rachmaninov and Pärt resound and reverberate in The Main Hall of the Concertgebouw.

Erratic tempi and unclear textures marr an otherwise engaging opportunity to hear a rarer Rachmaninov work alongside his evervescent Piano Concerto no. 2.

I have always been skeptical of concert performances of operas. Operas are written to be acted, and the staging is needed to complement the music. This is what I thought before I saw this performance of Ashkenazy conducting the Sydney Symphony Orchestra, Sydney Philharmonia Choirs and Sydney Children’s Choir in Tchaikovsky’s The Queen of Spades.