Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Christopher Moulds

Il ritorno von Claudio Monteverdi und Joan Didions magisches Denken über Warten und Spannen der Zeit: eine bemerkenswerte Symbiose gelingt dem Regisseur Christopher Rüping im Festival „Ja, Mai“ der Bayerischen Staatsoper

Pour trois représentations, le Staatsoper Unter den Linden hisse le drapeau du baroque en affichant la désormais célèbre mise en scène de Didon et Énée par la chorégraphe allemande Sasha Waltz. 

Donné en version de concert abrégée, l'opéra de Haendel bénéficie d'une distribution vocale très solide, dans laquelle se distingue la mezzo-soprano Diana Haller.

“How Excellent.”  The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

Le nozze di Figaro se presenta en Les Arts en la producción de Emilio Sagi y bajo la dirección musical de Christopher Moulds.

The evening’s most revelatory performance came from the young countertenor Aryeh Nussbaum Cohen as Medoro. 

La madurez del Dido & Aeneas de Sasha Waltz hilvana ópera y danza en trazos invisibles que erizan la piel y recrea un relato legendario con aires de vanguardia.

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

A flamboyant production and a wonderful cast of singers seals a big success for this gem of the early Baroque.

Two fine choreographers and the Orchestra La Scintilla heralded two world premiere performances of new ballets at the Zurich opera house.

Karina Gauvin y Christine Rice lideran el estreno escénico en Madrid de la obra maestra de Händel

Roman mythology bumps into Buddhism, not always comfortably, in Zhang Huan’s production of Handel’s Semele at the Brooklyn Academy of Music.

Former RSC Artistic Director Michael Boyd imparts a distinctly Shakespearean flavour to Monteverdi's L'Orfeo in this first collaboration between the Royal Opera and the Roundhouse.

La finta giardiniera isn't one of Mozart's greatest operas. But this is about as good a production of it as I can imagine and makes for a deliciously light-hearted evening. 

Sasha Waltz's choreography-heavy production of Purcell's Dido and Aeneas at the Sydney Festival is both intruiging and distracting, giving the singers little chance to shine.