Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Andriy Yurkevych

Große Stimmen, große Emotionen und nur kleine Irritationen: Das Wiener Staatsopernpublikum feiert Anna Netrebko, Luca Pisaroni und Celso Albelo in der Wiederaufnahme von Anna Bolena.

Nicht alles ist makellos, doch trotz aller Schwächen war dies ein unvergesslicher Abend, und Edita Gruberovà behauptet wieder einmal ihren Platz in den Herzen der Wiener.

Andriy Yurkevych leads a rousing musical performance, but this visually impressive Nabucco tries to hard to be relevant and misses the mark.

Donizetti's frothy romantic comedy takes on fresh appeal in this faithful rendering at the State Opera.

L'Opéra de Nice a fait face à sa malédiction en programmant l'opéra de Donizetti, non sans quelques frayeurs... Mais les inattendus Vladimir Stoyanov et Zach Borichevsky ont sauvé la production.

A performance of highs and lows with a stellar step-in from Lidia Fridman as Lucrezia Borgia and a confused production by Ferenc Anger plays at the Palace of Arts.

Prokofiev's score is reordered, the choreography is contemporary, characters are missing, and each of the three main scenes is set during a different 20th-century time period... yet, to a certain extent, it works.

Ópera de Tenerife ha presentado la Lucrezia Borgia de Donizetti, dirigida por Andriy Yurkevych y con Yolanda Auyanet en el papel principal.

One might have hoped for a memorable performance of the work for its absolute première at the Carlo Felice. Instead, this was an experience to quickly forget.

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

Oliver Sears' production of Macbeth comes to Cardiff in a production which offers a great deal musically but doesn't quite coalesce dramatically. 

Warlokowski's staging of Eugene Onegin for the Bayerische Staatsoper works from a bold premise: Onegin is gay. Strong musical and dramatic performances keep the concept coherent and interesting, but it ultimately doesn't convince.

A rich showcase of bel canto Romantic tragedy, this renewal of the Giancarlo del Monaco production made a vehicle for insights into jealousy, conscience, and deviousness “on a Royal scale”.