Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Corinne Winters

Eine moderne Sicht auf Janáčeks Beziehungsgeschichte durch Krzysztof Warlikowski erweist sich als vordergründig eindrucksvoll, verwischt aber in weiträumigem Bühnenspiel den Fokus auf die Charaktere der Figuren. Corinne Winters brilliert erneut als zur Außenseiterin abgestempelten Káťa Kabanová.

Dirigent Jakub Hrůša ist die Begeisterung für die Komposition seines Landsmannes anzumerken – und dieser Enthusiasmus überträgt sich auf Chor und Orchester.

Corinne Winters imponierte mit einer dramatisch expressiven Gestaltung von Richard Strauss’ Vier letzten Liedern.

Janáčeks Oper hinterlässt in Stuttgart Beklemmung, aber auch Trauer und Wut über soziale Umstände, die den Menschen eine freie Entfaltung verwehren. 

Mit dem Verdi-Requiem gelingt Gardiner mit dem ORR und dem Monteverdi Choir ein überwältigendes Totendrama.

An unusual double bill pairing of Puccini’s Suor Angelica and Dallapiccola’s Il prigioniero opens at the Teatro dell'Opera di Roma. 

Corinne Winters is phenomenal as the self-possessed Jenůfa in The Royal Opera's revival of Claus Guth's powerful staging. 

Jakub Hrůša and his Czech forces give an impressive account of a mass which with its ecclesiastical elements, yet pantheistic spirit and visceral energy points towards a more secular age.

Dmitri Tcherniakov se montre étonnamment peu inventif au moment de relier en un diptyque les deux œuvres de Gluck. Musicalement, le spectateur reste aussi sur sa faim malgré de très beaux passages.

El Teatro Real presenta con gran éxito la ópera polaca Halka, en la que brillaron Corinne Winters y Piotr Beczała con voces empastadas y precioso timbre.

La soprano américaine subjugue dans le rôle-titre, au sein d'une nouvelle production (mise en scène par Barbara Wysocka et dirigée par Elena Schwarz) qui sert efficacement l'œuvre intense de Janáček.

La notable ópera de Janáček cobra vida en un entorno industrial ideado por Katie Mitchell, mientras Gustavo Gimeno dirige meticulosamente desde el foso la Orquestra de la Comunitat Valenciana.

Director Tatjana Gürbaca and Czech conductor Tomáš Netopil deliver a “Romantic” Kátya Kabanová from the Grand Théâtre de Genève at Brno’s Janáček Festival.

Dans le chef-d'œuvre de Janáček globalement bien servi par la distribution, la mise en scène de Tatjana Gürbaca fait le pari judicieux d’un jeu psychologique pur, malgré quelques limites.

La production genevoise est d’abord un grand moment de théâtre, auquel s'ajoutent la direction musicale convaincante de Tomáš Hanus et une belle distribution, emmenée par une Corinne Winters impeccable.

Le metteur en scène allemand respecte le caractère propre à chaque partie du trittico puccinien, tout en tissant des liens subtils entre les œuvres.

Richard Jones' setting is superb in its bare minimalism, but he pays great attention to all the psychological nuances in Janáček's opera. 

Peter Konwitschny's production strips away much of the religious symbolism, presenting the difference between Jews and Christians as little more than the dyed colour of their hands. 

This concert was inevitably the sum of far more than its parts, and not for nothing are the Monteverdi Choir and the Orchestre Revolutionnaire et Romantiquem, regarded as among the best in the world

The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.

Two fascinating casts make Peter Konwitschny's stripped-down Traviata a must-see artistic event in Seattle.

Fine singing from the quartet of lovers isn't enough to prevent Bychkov's slow tempi and Gloger's earnest direction from turning Così into a very long evening.

Laughter is indeed the best medicine. As we try and make sense of the continuing political fallout post EU referendum, the CBSO offered the perfect prescription in the ample form of Verdi's Falstaff.

Anyone expecting a wishing well, castle and healthy portion of pomp in Dmitri Tcherniakov’s new production of Pélleas et Mélisande is in for a big surprise.

The unclear ideas and the excessive blackness in Thalheimer’s concept failed to convince, but Stoyanov and Joel’s presentation of Verdi’s score made up for those problems.

Despite some fine singing, Benedict Andrew's production of La bohème for English National Opera is devoid of heart. 

“He’s not an opera director. He’s a very naughty boy!” Three years after his surreal Damnation of Faust, Terry Gilliam tackles more Berlioz for English National Opera in the shape of Benvenuto Cellini, striking gold again.

Of the many and varied operatic openings, that of La Traviata is one that I find increasingly demanding on an emotional level. The mournful harmonies and diaphanous scoring for strings that start off the prelude notoriously portray ill-fated Violetta moments before she dies of TB, returning in the final act as her destiny is about to be fulfilled.

Verdi’s La Traviata is frequently listed as one of the most often programmed operas worldwide. Since it premiered in 1854, it must have greeted audiences around the world tens of thousands of times.

While recordings of Arabella abound, operagoers could conceivably go years without actually seeing the piece performed. Compared to the frequency with which companies present Der Rosenkavalier, Ariadne auf Naxos, and Salome, Richard Strauss’s Arabella is an infrequently seen gem.