Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Otto Schenk

Anna Netrebko übertrifft in einer ansonst blass bleibenden Vorstellung von Andrea Chénier alle Überwartungen.

Das Haus am Ring feiert die Jubiläumsvorstellung mit wienerischem Überschwang.

Jonas Kaufmann und Anja Harteros verleihen den Gefühlen in Giordanos dramatischem Werk eine große Wahrhaftigkeit.

Dass alte Produktionen nicht unbedingt verstaubt und langweilig sein müssen, zeigt die Bayerische Staatsoper mit einer denkwürdigen Rosenkavalier-Vorstellung.

Die Wiederaufnahme der Wiener Staatsoper von Janáčeks Schlauem Füchslein unter Tomáš Netopil zeigt lebendig die leuchtenden Farben der großen Lebensbejahung des Komponisten und die ewige Kraft der Natur.

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.

Led by phenomenal performances by tenor Javier Camarena and his superb colleagues, Met's Don Pasquale was a joyous occasion to celebrate Donizetti's late Opera Buffa.

Klaus Florian Vogt’s Florestan redeems an otherwise disappointing Fidelio in Otto Schenk's timeless production.

Otto Schenk's Vienna production of Der Rosenkavalier has been mounted 366 times since its 1968 inauguration and there is definitely no demand for a new one.

The Met brought back its traditional staging of Tannhäuser with remarkable performances by the Orchestra, Chorus and soloists, with two outstanding male singers.

Nina Stemme leads a successful revival of the Schenk production with a brilliant orchestra led by a passionate Ádám Fischer.

James Levine led a solid and at times excellent performance of Die Meistersinger von Nürnberg in Otto Schenk's traditional production that somehow lacked sparkle and excitement.

A fine cast and a traditional staging of a beloved classic results in a memorable night at the opera.

Janáček turned, after a life of much unrest and complexity, to a theme of apparent simplicity shrouding much more complex issues: a fairy tale.

Michael Volle stars as a complex Mandryka in the Met's birthday revival of Richard Strauss's Arabella.

This L’elisir d’amore at the Vienna Staatsoper, with Lawrence Brownlee and Mario Cassi, saw a successful two-performance test-run before its return in March, again under the baton of Guillermo García Calvo.

Yannick Nézet-Séguin kept the Metropolitan Opera Orchestra sounding especially lively and cohesive in this revival of Otto Schenk's enchanting production of Rusalka, starring Renée Fleming as the water nymph and Piotr Beczala as her lover.

Love and death are the two basic ingredients of the standard opera plot, and the more tragedy involved from the first to the last, the more likely it is to spur composers to set it to magnificent music. Andrea Chénier is a textbook example of this although it is not anywhere near as popular as La traviata, Carmen or La bohème, and explicably so.

Otto Schenk's production of Der Rosenkavalier is now four decades old but it still looks quite fresh, its opulence unfaded.