Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Paul Whelan

Mit Ambroise Thomas' Oper über den dänischen Prinzen beginnt die Oper Göteborg ihr Mitfeiern am Shakespeare-Jahr 2016.

Giordano Bellincampi presides over a fleet and crisp performance of Beethoven's only opera, performed in Auckland Town Hall. 

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

Accourez au Grand Théâtre de Genève faire un rêve éveillé : de l’excellence du plateau de solistes, des couleurs de l’Orchestre de la Suisse Romande dirigé avec maestria par Steven Sloane, à la rêverie offerte par la mise en scène de Katharina Thalbach, ce Britten là vous déroutera peut-être, mais vous fera rêver sûrement !

The role of Elvira in Bellini's I puritani requires every weapon in the bel canto soprano's armoury: Jessica Pratt has it all!

It’s probably best not to think too hard about the philosophical messages behind Parsifal, but Nelsons and the CBSO provide an emphatic reminder of how transcendent Wagner's music can be.

Stephen Layton leads the Auckland Philharmonia Orchestra in a thrillingly dramatic account of Bach's masterpiece. 

A welcome return for Tim Albery's intelligent production of Verdi's Macbeth with Opera North at Leeds Grand Theatre.

The sole complete opera contribution to Wagner’s anniversary in Auckland this year came in the form of New Zealand Opera’s production of Der fliegende Holländer. This was the first staged performance of a Wagner opera in Auckland for over 20 years (though we’ve had a few in concert), and it is a pleasure to report that New Zealand Opera welcomed the master back with a fascinating performance.

The Auckland Philharmonia’s choice for their opera in concert this year, The Rake’s Progress is a curious beast indeed. Loosely based on a series of paintings by William Hogarth, the libretto was penned by the great Anglo-American poet W.H.

Virtually every reviewer of Aida mentions elephants, generally only to note their absence: the elephant not in the room, as it were. Like most others, the current Opera Australia production was lacking in pachyderms, but few of last night’s audience will have felt short-changed.

Several audience members didn't bother to return after the interval, and there were a few walkouts even before that. It seems Christopher Alden's darkly brilliant new production isn't for everybody. But those of us who stuck it out for the full three hours were rewarded with a reminder that beneath the surface of the Shakespeare-based fairy fable lurk some disquieting truths.

"Intermezzo" has submitted an excellent and comprehensive review of the opening night of this classy new production, but I was so shocked to hear booing from neighbouring seats that perhaps I might be permitted to add this view from a relative opera novice? I've not seen this opera before, or even the Shakespeare play, so although I had nothing to compare it with, I also had nothing to miss in th

Easter wouldn't be complete without a performance of the St Matthew Passion, Johann Sebastian Bach's epic and intense interpretation of the crucifixion.