Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Louise Alder

Barrie Koskys Inszenierung begeistert vor allem mit der brillanten Personenregie. Musikalisch lässt der Abend leider Wünsche offen.

An der Bayerischen Staatsoper brilliert ein hochkarätiges Mozart-Ensemble in einem so enttäuschenden, wie trostlosem Regiekonzept.

Evgeny Titovs Inszenierung und Stefano Montanaris energiegeladenes Dirigat machen große Lust, sich in Mozarts oft gespielte Oper wieder zu vertiefen.

Mozart und Schumann mit einer glänzender Solistin, einem mitreißenden Chor und jubelnden Philharmonikern.

Im Gegensatz zu Benedict Andrews’ fast nihilistischer Beziehungssicht besticht Vladimir Jurowski in seiner ersten Münchner Mozart-Produktion durch feinen Klangintellekt.

Ein opulenter Augenschmaus mit einem großartigen jungen Mozart-Ensemble.

Die Oper Frankfurt bereitet wieder einen ihrer ungewöhnlichen Doppel-Opernabende, diesmal im Bockenheimer Depot.

Das Münchner Rundfunkorchester erinnert mit einem rauschenden Programm aus Strauss-Werken an den berühmtesten komponierenden Sohn der Stadt.

Schöne Momente, aber auch einige Längen, bietet das 8. Orchesterkonzert im Stefaniensaal mit den Grazer Philharmoniker. 

Erneut fährt das Regieteam um Tilmann Köhler mit einer Händel-Oper in Frankfurt einen enormen Erfolg ein; Canstantinos Carydis dirigiert mit beeindruckender Sensibilität.

In der episodischen Oper „Das Schlaue Füchslein“ von Leoš Janáček in der Oper Frankfurt wird der Musik und dem Publikum der Raum zum Träumen gegeben.

In Frankfurt war er mit Puccinis Il trittico dank einer musikalisch ausgefeilten und szenisch-psychologisch stimmigen Präsentation garantiert.

Als turbulenter Faschingsspaß ist die frühbarocke Oper L’Orontea 1656 uraufgeführt worden. An der Frankfurter Oper erlebte sie jetzt als moderner Operngag eine rasante Neuinterpretation.

The Metropolitan Opera revives Otto Schenk’s venerable staging of Strauss’s intimate melodrama. 

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

Evgeny Titov's new production is heavy on the jokes and light in substance, but delights anyway thanks to its high-class cast. 

Louise Alder shines as Cleopatra, one of Baroque opera’s greatest creations, in the fourth Glyndebourne revival of Sir David McVicar's much-loved production. 

Take a fine orchestra and an equally fine chorus, together with three contrasting soloists, and for content the greatest story ever: all the ingredients to bring alive Haydn's The Creation.

The flourishing partnership between Vasily Petrenko and the Royal Philharmonic Orchestra continues to be vital in both senses of the word. 

Sumptuous Wagner and effortless Mahler from the Bayrisches Staatsorchester, cleanly expressive Schumann from Yefim Bronfman and richly communicative singing from Louise Alder. 

It's been in the Glyndebourne rep for almost fifty years, but John Cox's production, complete with Hockney's iconic set, remains timeless. Robin Ticciati's superb conducting and an excellent cast made this latest revival a complete success.

El concierto en Madrid de la Filarmónica de Berlín con Kirill Petrenko al frente y un programa únicamente de obras de Mozart cerró la temporada de Ibermúsica.

The massed ranks of the LSO, the London Symphony and CBSO Choruses, Dame Sarah Connolly and Louise Alder gather for a staggering Mahler 2 at the BBC Proms. 

Soprano Louise Alder explored the dying embers of the Romantic movement in a sensitive performance of Vier letzte Lieder.

A well-sung revival of Jonathan Miller's Bohème at the coliseum fails to catch fire.

Claus Guth nos traslada a un entorno sombrío y lúgubre para narrar las horas finales de un Don Giovanni herido de muerte.

Louise Alder and Roger Vignoles offer French charm in their return to Wigmore Hall.

A witty, insightful production at the Coliseum fizzes with comedy and pathos. 

Soloists and choir, headed by a spellbinding Christian Gerhaher, brought real lustre to Schumann’s treatment of Goethe’s magnum opus.

The final day of Oxford Lieder's 80-event festival was framed by two recitals taking us from the world of German folklore andDes Knaben Wunderhorn, to the pain and drama of romantic entanglements. 

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

I wanted to hear more from Louise Alder, but that was true of each of the four singers.

Rising like a phoenix, the Alexandra Palace Theatre stages its first opera since its reopening after eighty years of slumber. 

A classy and charming adventure through Gilbert & Sullivan with the OAE and John Wilson .

Depravación, lujuria y extravagancia se imponen en el Teatro Real de la mano de David Alden para mostrarnos la hermosa música de Cavalli.

Mark-Anthony Turnage's First World War opera both moves and dazzles at the Barbican.

Jonathan Cohen leads a sensitive performance by Arcangelo, with a line-up of five outstanding lyrical voices. 

The effervescent John Wilson and his orchestra make Bernstein's musical sparks fly.

A twist on the usual Enlightenment path, this is an admirable production, excellently executed.

Harry Bicket leads Royal Northern Sinfonia and Chorus and a fine line-up of soloists in a performance that moves effortlessly between the human and eternal time lines of Bach's St John Passion.

Ian Page's new ensemble kicked off with a feisty performance of Mozart's Symphony No. 29 and Sinfonia Concertante for Violin, Viola and Orchestra with two splendid arias sung by Louise Alder.

We anticipated a Ukrainian barihunk singing Tchaikovsky, but ended up with an English rose singing Strauss.

Skelton's Florestan provides the power in a refined, elegant performance that brings out the beauty in Beethoven's score.

Sublime orchestral playing and stellar soloists don't quite make up for a lacklustre performance by the Academy's choir in Monteverdi's moving work

A thrilling finale to the 2017 Cardiff Singer of the World

Gloriously sung and stylishly played, this Rosenkavalier is a feast for the ears and eyes and should be heard without delay. 

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

An opportunity for the human voice to shine in works by Mahler and Mozart, performed by the BBC Scottish Symphony Orchestra conducted by Ilan Volkov, with an opening work by Gérard Grisey.

Mozart's messy monster of an opera gets a brutalist tidy-up at Garsington, but the determinedly straightforward reading only makes this work's innate problems more obvious.