Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Marco Vratogna

Nach all den Spekulationen gab Jonas Kaufmann sein Rollendebüt als Otello an der Royal Opera - ein beeindruckender, wenn nicht uneingeschränkter, Erfolg.

Selbst bei kurzfristigen Absagen weiß es die Staatsoper einen „gewöhnlichen“ Repertoireabend zum Glänzen zu bringen.

Star tenor Jonas Kaufmann sings the title role in Olivier Py's dour and symbolism-heavy Lohengrin, set in post-war Berlin.

Splendid performances by Yonghoon Lee and Karah Son breathe life into Harry Kupfer’s 20-year-old production.

John Bell's reworking brings Tosca to 1943 Nazi-ruled Rome, featuring gorgeous sets and Carmen Giannatassio's striking Opera Australia debut in the title role.

Remarkable singers and magnificent sets successfully transpose Puccini’s Tosca to Nazi-occupied Rome, bringing home the horror of tyranny and how possible it is to occur.

Un Otello, en el Liceu, en la producción de Kriegenburg, con algunos claroscuros y en la que destacó Desdemona con una acertada interpretación.

Mario Martone's Cavalleria rusticana—Pagliacci returns to La Scala, with results that do not always convince. 

On Harry Kupfer's dramatic set, strong performances by Simon O'Neill (Otello), Lianna Haroutounian (Desdemona) and especially Claudio Sgura (Iago) make Opera Australia's Otello a memorable revival.

The Royal Opera House revives Jonathan Kent's traditional production, but with a crucial lack of magnetism between hero and heroine, Puccini's taut thriller feels somewhat muzzled.

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.

The San Francisco Opera, one of the big American houses that has exhibited commendable fiscal resourcefulness while maintaining its artistic standards, selected a conservative opener for its 90th season with a revival of its de Chirico-inspired production of Rigoletto.

“There was love all around / But I never heard it singing / No, I never heard it at all / Till there was you!” I vividly recall when I first heard Shirley Jones sing these touching, heartfelt lines on the beloved motion picture version of Meredith Wilson’s “The Music Man”, when both the devious Professor Harold Hill and the stingy spinster Marion Paroo discover the true meaning of love.