Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Clemens Bieber

Elektra bei den Strauss-Wochen der Deutschen Oper: bei solch wunderbarer Musik werden wir uns alle zu Tode tanzen wollen.

Trotz starker musikalischer Leistungen geht Claus Guths Salome-Konzept an der Deutschen Oper nicht auf.

Eine Versetzung von Vasco da Gamas Entdeckung der Seeroute nach Indien in die Gegenwart? Vera Nemirovas stilvolle Inszenierung von Mayerbeers Grand Opéra funktioniert überwiegend gut.

Richard Strauss' Ariadne auf Naxos unterhält in einer konzertanten Version der Deutschen Oper in der Philharmonie Berlin, mit guten Leistungen von Meagan Miller (Ariadne) und Susanne Elmark (Zerbinetta).

Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

Mis en scène par Kirsten Harms, Tannhäuser s'avère inégal. Se distinguent Ante Jerkunica (en Landgrave royal) et Camilla Nylund, formidable dans sa double interprétation de Venus/Elisabeth.

Staging the story of the Italian political figure Rienzi as that of a dictator in 20th-century Germany was an inspired idea. This revival was a rare occasion to experience Wagner's early opera. 

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

The production was interesting but at times distracting, but the musical performances triumphed. 

Rare Bruckner psalm setting brought to light and given a stunning performance with Mass no. 3 by Munich Philharmonic Choir, Philharmonia Festive at Ebrach's 25th jubilee concert.

Puccini's La fanciulla del West gets a modern update at the Deutsche Oper Berlin.

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Deutsche Oper Berlin’s Billy Budd, although musically satisfying, suffers through an ambiguously set production. 

When audiences first heard Wagner’s Tristan and Isolde, they were stunned by the sustained, passionate eroticism of the score, with the musicians amongst them amazed by the variety of novel compositional devices.